BENEDETTA (2021)

December 3, 2021

Greetings again from the darkness. Filmmaker Paul Verhoeven has long made his cinematic living on the fringes: the brutality of the Middle Ages in FLESH + BLOOD (1985), the violence and thirst for power through technology in ROBOCOP (1987), the buried dark side (and other uses of ice picks) of our personality in BASIC INSTINCT (1992), more thirst for power combined with a baffling lack of sex appeal in SHOWGIRLS (1995), and the unbridled desire for revenge in ELLE (2016). This latest displays his mastery of ‘nun-on-nun’ eroticism and the duplicity of religious faith. Verhoeven’s usual goal is to provoke, and along with his co-writer David Birke, this ‘based on true events’ story (adapted from the 1986 Judith C Brown book, “Immodest Acts: The Life of a Lesbian Nun in Renaissance Italy”), is a natural fit.

Benedetta Carlini is delivered to the convent at a young age by her well-heeled parents. The girl claims to have a direct line to God, who delivers well-aimed bird droppings when called upon. OK, that’s just the first somewhat comical event in this film that seems less interested in the documented antics of the real Sister Benedetta, than in tantalizing today’s viewers with the behind closed doors sins of the flesh between she and fellow nun, Bartolomea (Daphne Patakia). Portraying Sister Benedetta, Viginie Elfira never shies away from the material, whether it’s the stigmata, bedtime play with a specially carved Virgin Mary statuette, or channeling the voice of God during outbursts claiming blasphemy.

Felicita, the abbess of the convent, is played by the always interesting Charlotte Rampling. Sister Felicita’s real talent seems unrelated to issues of God, and instead lies in matters of money. Because of this, she capitalizes on Benedetta’s visions as a form of fundraising, while turning away (except during moments of voyeurism) from her other activities and claims. Our early caution comes from Benedetta being told upon arrival that, “Your body is your worst enemy”. After more dreams and visions, and a possible miracle or two, we understand that nuns are to believe that suffering is the road to salvation and redemption … a theory that leads to one of the more humorous moments as a sword-wielding Jesus saves Benedetta from a gaggle of attacking serpents.

Is there such thing as erotic religious satire played straight? We must assume that Verhoeven has his tongue planted firmly in cheek for this one, as it goes beyond skepticism of religion and directly to the morally adrift. Whether Benedetta’s claims of visions are/were true or fake, Verhoeven is a filmmaker who takes pleasure in the pleasure of nuns, no matter how prohibited it might be. We can just never be certain whether his objective is to expose religion, or simply expose.

Available in theaters on December 3, 2021 and On Demand beginning December 21, 2021

WATCH THE TRAILER

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Posted by David Ferguson

ELLE (2016, France)

November 17, 2016

elle Greetings again from the darkness. It’s best not to pre-judge what to expect in a new Paul Verhoeven directed film. We haven’t seen or heard much from him in the past decade (the underrated Black Book, 2006), but we know surprises and twists and entertainment will be part of his work given his track record of Robocop, Total Recall, Basic Instinct, and Showgirls. Factor in that he is now working with one of the best actresses on the planet in Isabelle Huppert, and we walk into the theatre with no assumptions but a high level of anticipation.

The phrase ‘tour de force’ is no exaggeration for Ms. Huppert’s performance here. No time is provided for settling into one’s seat as the opening scene stuns us with a brutal sexual attack by a masked intruder. Afterwards, the bloodied victim calmly cleans the house, soaks in a tub and orders takeout. This is our introduction to Michele (Huppert) and begins our two hour mission of trying to figure her out.

Is she the ultimate feminist? She is the co-owner (with her best friend Anna) of a video game company that specializes in highly stylized and violent fantasy games (no subtle irony in that). Is she demented? She fools around with the husbands of her best friend and neighbor. Is she simply off-center? She scolds her mother for wanting to marry a much younger man, and her son for living with his selfish girlfriend who has a new baby via another man. She is not a good friend, business partner, mother, daughter, wife or person. This is no sympathetic character, yet thanks to Ms. Huppert, we simply can’t take our eyes off of her or stop wondering how she will handle the next situation (of which there are many).

Based on the novel “Oh …” by Phillipe Dijan, with a screenplay from David Birke (who has a similar theme in much of his work), the film spares us little from the daily life of Michele. We see her as a confident business person, a sexual being – whether peering through binoculars at a neighbor or trysting with a married man – and a somewhat devious and devilish person intent on revenge. It’s not until later in the film that we learn the family history that has been the driving force behind her rebuilding her life while also being unable to escape the past.

Ms. Huppert is in most if not every scene. It’s a powerful and rare performance that is complemented by some fine supporting actors: Anne Consigny as Anna (Michele’s friend and business partner), Christian Berkel as Robert (Anna’s husband and Michele’s play toy), Charles Berling as Richard (Michele’s ex-husband), Judith Magre as Michele’s mom, Laurent Lafitte as Patrick (the neighbor), and Jonas Bloquet as Vincent (the dim bulb son). Michele has interactions with each of these characters … none better than the Christmas dinner party where all are in attendance.

Verhoeven’s film can be viewed as a slightly sleazy guilty pleasure, or as a profile of a strong, independent woman with a flawed moral compass. It’s a reminder that we never fully escape the shadow cast by our parents, and some pay a greater price than others. It’s rumored that no major American actress would take on the role, which in the end, benefits the film greatly … no other actress could have provided what was needed (except perhaps Barbara Stanwyck, who died more than 25 years ago). Ms. Huppert’s performance allows this to cross many genres, and it is undoubtedly the best of the year in this category: a comically mean rape-revenge psychological thriller centered on consent and desire. Should you doubt this, perhaps Michele’s own words will convince: “Shame isn’t a strong enough emotion to stop us from doing anything at all.” It’s a pleasure to meet you ma’am.

watch the trailer:

 

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Posted by David Ferguson