125 reviews
Dutch grandmaster Paul Verhoeven has never made a secret of his very ambiguous attitude towards religion, often comparing it to a mass-delusion shared by the majority of the world. However, he has also admitted to his fascination with faith on numerous occassions, and in his movies, religious allegories are never far away: from Alex Murphy in RoboCop seemingly walking on water, to a catholic cross used to trap someone in a coffin in Blackbook.
Religious visions had already played a prominent part in Verhoeven's Dutch classic The Fourth Man and his American debut Flesh + Blood, but Benedetta is his first foray into organized religion as a setting for a full movie. Though based on a book about a real historic figure, Benedetta is far from a simple biopic. We learn enough of the life of the titular character, but Verhoeven is far more interested in exploring our human shortcomings, and one question in particular: to what extent can people really surrender to faith, and all the rules and regulations that come with their system of belief?
The cynic side of his vision is pretty clear in the beginning, when we learn that a religious order is just like any other business model, only accepting novices for financial compensation; their laws, standards and knowledge seem arbitrary and without any logical basis (usually in favor of men); and independent girls who display too much of a critical opinion about religious rules are quickly silenced. While sister Benedetta (Virginie Efira, who played the neighbor in Verhoeven's 'Elle') suddenly receives a series of visions of Jesus, it makes her believe that she was meant to lead, rather than just blindly follow her superiors. And the sudden arrival of the young and handsome novice Bartolomea strongly challenges her views and former teachings.
Both events serve as story catalysts that severely upset the order of things: Benedetta has always been thaught that lust, especially for another woman, is sinful, but when the free-spirited Bartolomea shows her the carnal pleasures, it is clear that such beliefs don't go very deep. Verhoeven almost revels in showing that some of the higher-ups in the church aren't very strict with there vows either, especially when these don't serve their self-interests. But when Benedetta's miracles and inexplicable acts elevate her standing at the expense of others, it becomes clear how easily some people can hold on to ruling dogmas and regulations as long as they believe that these serve the common good; but as soon as these threaten their own power, status and desires, all religious charity and love for the fellow man go out of the window, and sinful human shortcomings such as jealousy, pride and greed quickly take over.
Verhoeven introduces yet another one of his strong but flawed protagonists, by making Benedetta a woman who manages to rally other people to her cause, in spite of the anti-feminist sentiments of the era. He shows that even though the divine may be largely a physical and mental illusion, the power of religion isn't necessarily evil, and can be used for good. At the same time, his Benedetta is definitely no saint: he explicitly allows for the possibility that her miracles are partially manipulated. However, he cleverly doesn't answer the question whether she truly believes that God is using her body for his works, or that she is knowingly manipulating everyone from the start under the pretense of piety.
As expected, production design and cast are great. Virginie Efira can easily sell her naive character, but we still believe that there can be a calculated demeanor under that. Daphne Patakai is amazing in a very brave role as the whirlwind Bartolomea, and Lambert Wilson is just the right guy to play a pompous and self-serving church leader. Possibly the best work comes from Charlotte Rampling as the abbess, whose moral ambiguity seeps through best; she can believably switch between a money-hungry leader, ruthless opportunist and devout believer, even within scenes.
After his more subtle movie 'Elle', Verhoeven is back to his old trade: all the animalistic sides of human beings, like sex, violence, blood, feces, rape and torture, are amply represented. Some people seem to get hung up by the almost 1980s-grade amounts of nudity that they believe takes away from the feminist undertones, but the man himself has made it clear during the film's promotion that there is (and should be) nothing abnormal about sexuality and nudity in films about the human condition. Indeed, he doesn't hold back in that regard, with the creative use of a Maria statue as the film's most memorable moment. Verhoeven, always the provocateur, seems to openly challenge the contemporary negative attitude towards sex in movies, as if to say that we shouldn't be so squeemish about a bit of skin, or reduce a movie simply to the amount of naked women in it. And indeed, after some initial awkwardness in the audience, I felt that most viewers gradually went with it.
Despite all the Verhoeven ingredients being present, I don't feel that this is another one of his masterpieces, though. Where he normally has a brisk pacing and keen sense of dosing, the first half meanders a bit because there is a lot of set-up to be done. Another complication is that Benedetta's visions are depicted in an almost B-movie kind of way, which is almost unintentionally comical. The second half is where the slowly built-up conflict pays off, and although the movie doesn't have as many memorable scenes as some of his classics, one nasty torturing scene and a riveting climax surely make it an experience you will not soon forget.
This is an adequately made morality tale in the vein of The Name of the Rose, highly recommended for people who are interested in history and religion, and for fans of Paul Verhoeven.
Religious visions had already played a prominent part in Verhoeven's Dutch classic The Fourth Man and his American debut Flesh + Blood, but Benedetta is his first foray into organized religion as a setting for a full movie. Though based on a book about a real historic figure, Benedetta is far from a simple biopic. We learn enough of the life of the titular character, but Verhoeven is far more interested in exploring our human shortcomings, and one question in particular: to what extent can people really surrender to faith, and all the rules and regulations that come with their system of belief?
The cynic side of his vision is pretty clear in the beginning, when we learn that a religious order is just like any other business model, only accepting novices for financial compensation; their laws, standards and knowledge seem arbitrary and without any logical basis (usually in favor of men); and independent girls who display too much of a critical opinion about religious rules are quickly silenced. While sister Benedetta (Virginie Efira, who played the neighbor in Verhoeven's 'Elle') suddenly receives a series of visions of Jesus, it makes her believe that she was meant to lead, rather than just blindly follow her superiors. And the sudden arrival of the young and handsome novice Bartolomea strongly challenges her views and former teachings.
Both events serve as story catalysts that severely upset the order of things: Benedetta has always been thaught that lust, especially for another woman, is sinful, but when the free-spirited Bartolomea shows her the carnal pleasures, it is clear that such beliefs don't go very deep. Verhoeven almost revels in showing that some of the higher-ups in the church aren't very strict with there vows either, especially when these don't serve their self-interests. But when Benedetta's miracles and inexplicable acts elevate her standing at the expense of others, it becomes clear how easily some people can hold on to ruling dogmas and regulations as long as they believe that these serve the common good; but as soon as these threaten their own power, status and desires, all religious charity and love for the fellow man go out of the window, and sinful human shortcomings such as jealousy, pride and greed quickly take over.
Verhoeven introduces yet another one of his strong but flawed protagonists, by making Benedetta a woman who manages to rally other people to her cause, in spite of the anti-feminist sentiments of the era. He shows that even though the divine may be largely a physical and mental illusion, the power of religion isn't necessarily evil, and can be used for good. At the same time, his Benedetta is definitely no saint: he explicitly allows for the possibility that her miracles are partially manipulated. However, he cleverly doesn't answer the question whether she truly believes that God is using her body for his works, or that she is knowingly manipulating everyone from the start under the pretense of piety.
As expected, production design and cast are great. Virginie Efira can easily sell her naive character, but we still believe that there can be a calculated demeanor under that. Daphne Patakai is amazing in a very brave role as the whirlwind Bartolomea, and Lambert Wilson is just the right guy to play a pompous and self-serving church leader. Possibly the best work comes from Charlotte Rampling as the abbess, whose moral ambiguity seeps through best; she can believably switch between a money-hungry leader, ruthless opportunist and devout believer, even within scenes.
After his more subtle movie 'Elle', Verhoeven is back to his old trade: all the animalistic sides of human beings, like sex, violence, blood, feces, rape and torture, are amply represented. Some people seem to get hung up by the almost 1980s-grade amounts of nudity that they believe takes away from the feminist undertones, but the man himself has made it clear during the film's promotion that there is (and should be) nothing abnormal about sexuality and nudity in films about the human condition. Indeed, he doesn't hold back in that regard, with the creative use of a Maria statue as the film's most memorable moment. Verhoeven, always the provocateur, seems to openly challenge the contemporary negative attitude towards sex in movies, as if to say that we shouldn't be so squeemish about a bit of skin, or reduce a movie simply to the amount of naked women in it. And indeed, after some initial awkwardness in the audience, I felt that most viewers gradually went with it.
Despite all the Verhoeven ingredients being present, I don't feel that this is another one of his masterpieces, though. Where he normally has a brisk pacing and keen sense of dosing, the first half meanders a bit because there is a lot of set-up to be done. Another complication is that Benedetta's visions are depicted in an almost B-movie kind of way, which is almost unintentionally comical. The second half is where the slowly built-up conflict pays off, and although the movie doesn't have as many memorable scenes as some of his classics, one nasty torturing scene and a riveting climax surely make it an experience you will not soon forget.
This is an adequately made morality tale in the vein of The Name of the Rose, highly recommended for people who are interested in history and religion, and for fans of Paul Verhoeven.
Some film critics in Greece thought that this movie is a hybrid of parody and satire in its attitude towards organized religion. I disagree. Although the treatment of religious themes is rather blasphemous by pietistic standards the amount of human misery and suffering portrayed does not allow the viewer to conceive the movie as satire at least solely as such. Surely the religious visions and the sexual adventures of Benedetta treat religion irreverently but the consequences for her and her protégé Bartolomea have nothing humorous about them. In that time, unlike ours - at least in the West- no jokes were allowed concerning religion.
Misery, violence, intrigue abound in the plot and lust, although explicit, is just one of the sins portrayed. Ambition, struggle for power and precedence, avarice are the prevailing motives of the characters. Christian charity pales before those demonic passions although it is not totally absent.
The plight of the poor, the intrigues of the powerful, the omnipresence of the plague, the violence of the soldiery offer a bleak picture of society. One is reminded of Flesh and Blood by the same director situated in about the same historical period. Both have a central heroine with superb survival skills to help her navigate through insurmountable adversities.
Humour and satire exist but the general atmosphere is so ominous, so laden with menace, violence and disease that you are left saddened with the misery inherent in the human experience of 17nth century Tuscany. Nothing betrays the artistic splendour of the Renaissance, just a bleak struggle for survival and mastery, for power and precedence, for wealth and prestige where Christianity is used to serve those ulterior motives.
It is a sad movie. That said Virginie Efira and Daphne Patakia are gorgeous both artistically and sexually. But I think Charlotte Rampling in the role of the abbess gives the more memorable performance as a character full of ambiguity and contradictions. Lambert Wilson shines as the satanic nuncio although his character is rather flat in his evil propensities.
The costumes and the representation of the era are superb and the religious visions of Benedetta are far-fetched and subversive. Pietistic believers are going to be offended and will probably say: would he dare to do the same with Muslim religious symbols? But I do not think that the movie is anti-Christian. It shows how lofty ideals are used by flawed humans to further very earthly ambitions.
It is true though that without divine solace the society portrayed by Benedetta would be impossible to live in. Watch the movie and form your own opinion.
Misery, violence, intrigue abound in the plot and lust, although explicit, is just one of the sins portrayed. Ambition, struggle for power and precedence, avarice are the prevailing motives of the characters. Christian charity pales before those demonic passions although it is not totally absent.
The plight of the poor, the intrigues of the powerful, the omnipresence of the plague, the violence of the soldiery offer a bleak picture of society. One is reminded of Flesh and Blood by the same director situated in about the same historical period. Both have a central heroine with superb survival skills to help her navigate through insurmountable adversities.
Humour and satire exist but the general atmosphere is so ominous, so laden with menace, violence and disease that you are left saddened with the misery inherent in the human experience of 17nth century Tuscany. Nothing betrays the artistic splendour of the Renaissance, just a bleak struggle for survival and mastery, for power and precedence, for wealth and prestige where Christianity is used to serve those ulterior motives.
It is a sad movie. That said Virginie Efira and Daphne Patakia are gorgeous both artistically and sexually. But I think Charlotte Rampling in the role of the abbess gives the more memorable performance as a character full of ambiguity and contradictions. Lambert Wilson shines as the satanic nuncio although his character is rather flat in his evil propensities.
The costumes and the representation of the era are superb and the religious visions of Benedetta are far-fetched and subversive. Pietistic believers are going to be offended and will probably say: would he dare to do the same with Muslim religious symbols? But I do not think that the movie is anti-Christian. It shows how lofty ideals are used by flawed humans to further very earthly ambitions.
It is true though that without divine solace the society portrayed by Benedetta would be impossible to live in. Watch the movie and form your own opinion.
- georgioskarpouzas
- Nov 18, 2021
- Permalink
Sex and violence are par for the course for a Paul Verhoeven film, but, one rarely expects it in such copious amounts in a film based on a true story account of a 17th century Catholic nun, Benedetta Carlini. The key word is 'based' for Verhoeven and co-writer David Birke have freely adapted Judith Brown's non-fiction book.
Set in Tuscany, Benedetta is a tale of a young Italian woman (the movie is in French) who claimed to have had vivid visions of Jesus from an early age. Once in a Convent in Pescia, Benedetta (played as an adult by a stout Virginie Efira) rises to the rank of Abbess much to the dismay of the former Mother Superior, Felicita (an excellent Charlotte Rampling). Her manifestations continue and become more graphic even reaching the point of stigmata and speaking in tongues. A rumored affair with a fellow nun, Bartolomea (a mischievous Daphné Patakia) brings suspicion, scorn and charges of heresy in the form of Alfonso (Lambert Wilson; relishing his evil side) who comes from Florence to prosecute the case. The plague is raging and Verhoeven's film boils into a bloodier, sexier take on Ken Russell's THE DEVILS. Something of a MARK OF THE DEVIL for the Cannes crowd.
And yet, Verhoeven has created a work of subversive, yet profound, religiousness. Benedetta's devotion to the lord is never in doubt Her fervor, inspired and deeply felt even when not in keeping with the letter of scripture. Only a filmmaker as fervid as his subject could create at once something so sacrilegious while also remaining true to the essence of the character. There is no question that Verhoeven can never be accused of having good taste (and there are times here where if he pulled back even a little, it would have only improved the work), but, sometimes that seeming contradiction is what can create such stirring art. BENEDETTA is a direct challenge to believers and non-believers alike.
Set in Tuscany, Benedetta is a tale of a young Italian woman (the movie is in French) who claimed to have had vivid visions of Jesus from an early age. Once in a Convent in Pescia, Benedetta (played as an adult by a stout Virginie Efira) rises to the rank of Abbess much to the dismay of the former Mother Superior, Felicita (an excellent Charlotte Rampling). Her manifestations continue and become more graphic even reaching the point of stigmata and speaking in tongues. A rumored affair with a fellow nun, Bartolomea (a mischievous Daphné Patakia) brings suspicion, scorn and charges of heresy in the form of Alfonso (Lambert Wilson; relishing his evil side) who comes from Florence to prosecute the case. The plague is raging and Verhoeven's film boils into a bloodier, sexier take on Ken Russell's THE DEVILS. Something of a MARK OF THE DEVIL for the Cannes crowd.
And yet, Verhoeven has created a work of subversive, yet profound, religiousness. Benedetta's devotion to the lord is never in doubt Her fervor, inspired and deeply felt even when not in keeping with the letter of scripture. Only a filmmaker as fervid as his subject could create at once something so sacrilegious while also remaining true to the essence of the character. There is no question that Verhoeven can never be accused of having good taste (and there are times here where if he pulled back even a little, it would have only improved the work), but, sometimes that seeming contradiction is what can create such stirring art. BENEDETTA is a direct challenge to believers and non-believers alike.
A Paul Verhoeven movie about nuns? Do I need to say more? Well, perhaps. Of course, we get our fair share of nude nuns minus, in this instance, those big guns and a copious amount of sex and violence but this is no cheap exploitation picture even if it is unlikely to recieve the Vatican's Good Housekeeping Seal of Approval. Verhoeven's "Benedetta" doesn't just sail close to the wind but to Christians, and to Catholics in particular, is positively sacrilegious.
It's the story of a nun, Benedetta, in 17th century Tuscany, (Virginie Efria), whose devotion, first to the Virgin Mary and then to Jesus, takes, shall we say, somewhat extreme forms. As a 'Bride of Christ' Benedetta sees him not just as a vision but very much in the flesh and tends to take her wifely duties literally though she is also inclined to dally in her more earthly sphere with another nun, (Daphne Patakia). Naturally, this leads Benedetta into all sorts of trouble with the Church authorities.
Verhoeven tends to take all of this fairly seriously though the nudity, the violence, the visions and the swearing do add to a sense of jocularity as well. It's certainly a terrific looking picture with a real sense of period and without the sex and violence it could fit quite easily into the category of 'religious epic'.
There's a lot here we've seen before but equally there is a lot that is both new and shocking but shocking in a very Verhoevenian kind of way. Even at its most serious I kept feeling his tongue was lodged very firmly in his cheek, certainly by the time we move into the territory of "The Devils" and "The Exorcist". The one member of the cast who seems to know exactly what is intended is Charlotte Rampling as the Mother Superior and once again Rampling simply walks off with the picture. Unfortunately, in the version I saw, the subtitling was very poor, even to the extent of distorting the meaning. What is certain is that "Benedetta" is no 'Sound of Music' and this is one nun's story unlikely to be shown in the convent anytime soon.
It's the story of a nun, Benedetta, in 17th century Tuscany, (Virginie Efria), whose devotion, first to the Virgin Mary and then to Jesus, takes, shall we say, somewhat extreme forms. As a 'Bride of Christ' Benedetta sees him not just as a vision but very much in the flesh and tends to take her wifely duties literally though she is also inclined to dally in her more earthly sphere with another nun, (Daphne Patakia). Naturally, this leads Benedetta into all sorts of trouble with the Church authorities.
Verhoeven tends to take all of this fairly seriously though the nudity, the violence, the visions and the swearing do add to a sense of jocularity as well. It's certainly a terrific looking picture with a real sense of period and without the sex and violence it could fit quite easily into the category of 'religious epic'.
There's a lot here we've seen before but equally there is a lot that is both new and shocking but shocking in a very Verhoevenian kind of way. Even at its most serious I kept feeling his tongue was lodged very firmly in his cheek, certainly by the time we move into the territory of "The Devils" and "The Exorcist". The one member of the cast who seems to know exactly what is intended is Charlotte Rampling as the Mother Superior and once again Rampling simply walks off with the picture. Unfortunately, in the version I saw, the subtitling was very poor, even to the extent of distorting the meaning. What is certain is that "Benedetta" is no 'Sound of Music' and this is one nun's story unlikely to be shown in the convent anytime soon.
- MOscarbradley
- Dec 29, 2021
- Permalink
At the age of 83, it is wonderful to see Paul Verhoeven mojo's still on fire after all these years. His latest offering Benedetta (2021), a provocative lesbian affair in a 17th-century nunnery set amidst the bubonic plague is more than erotic drama as Verhoeven manages to mix dogmas of faith & superstition in the narrative. It definitely lives up to its billing as one of his best film, exceptionally well made all around and stays true to form throughout. Along the way, it has a true and sad story to tell, but it is an entertaining film with funny characters and Jesus Christ cameo with a sword-slinging fight sequence. The film might feel inconsistent in its satire on the Catholic Church but it definitely hits hard where it counts. The best is in the 2nd half, there is an intriguing balance between the satire and the obscene, waddling constantly between the two, with wild moments.
The film has few shortcomings, but they are completely outweighed by its main advantage - cinematography, soundtrack and the wacky screenplay. On the acting side we have a stable interpretive work of all those involved, but the one who stands out the most is Virginie Efirahas, some of the best acting of the year.
Overall, 'Benedetta' is an Paul Verhoeven movie at its best. It is a mischievous film in the very spirit of Ken Russell's The Devils (1971) and Nunsploitation classics. It might feel off-putting before becoming entertaining and it succeeds in doing this in all aspects.
The film has few shortcomings, but they are completely outweighed by its main advantage - cinematography, soundtrack and the wacky screenplay. On the acting side we have a stable interpretive work of all those involved, but the one who stands out the most is Virginie Efirahas, some of the best acting of the year.
Overall, 'Benedetta' is an Paul Verhoeven movie at its best. It is a mischievous film in the very spirit of Ken Russell's The Devils (1971) and Nunsploitation classics. It might feel off-putting before becoming entertaining and it succeeds in doing this in all aspects.
Benedetta is a take on a real life story about a young woman in the middle ages who believes so wholeheartedly in Jezus and the love of God, that around her, mysterious stuff happens. What follows is a film that does not shy away from both controversy and visceral body action, while all the time, keeping the mystery alive, and occasionally even poking great fun at the subject.
Benedetta is put in the House of God with nuns and priests who do not really seem to believe in the divine themselves, setting up for conflict in religion and faith. This being a Verhoeven film, we get to see everything, including sex between nuns, which is not really a spoiler, since it made the film instantly infamous.
For a Verhoeven film, the sex and violence is actually mild, which isn't to say it's not prominent. But it's the underlying story that makes it truly interesting: how does a woman with such devotion, love and sex appeal, fair in the horridly abusive culture of the Church in the middle ages? Does she overcome it? And is she truly blessed by God or not?
I'll leave that for you to discover yourself. I will say without giving anything away, that the acting and directing is done with ferocious passion and conviction, that the film covers all emotions and feels accurate in its depiction of this historic woman her life.
Again, Verhoeven delivers.
Benedetta is put in the House of God with nuns and priests who do not really seem to believe in the divine themselves, setting up for conflict in religion and faith. This being a Verhoeven film, we get to see everything, including sex between nuns, which is not really a spoiler, since it made the film instantly infamous.
For a Verhoeven film, the sex and violence is actually mild, which isn't to say it's not prominent. But it's the underlying story that makes it truly interesting: how does a woman with such devotion, love and sex appeal, fair in the horridly abusive culture of the Church in the middle ages? Does she overcome it? And is she truly blessed by God or not?
I'll leave that for you to discover yourself. I will say without giving anything away, that the acting and directing is done with ferocious passion and conviction, that the film covers all emotions and feels accurate in its depiction of this historic woman her life.
Again, Verhoeven delivers.
- rogier-86785
- Jul 30, 2022
- Permalink
This movie was banned from film distribution in Russia so I started watching in hopes of explicit scenes and 'forbidden fruits', but continued thanks to the acting work of Charlotte Rampling. What a marvelous actress.
- callsomeoneyoulove
- Jan 1, 2022
- Permalink
The line between good and bad, pure and evil is so thin ... you don't always realize you crossed it. Or in this case a character. And when I say character I mean "historical figure". In a sense - and let me be clear, I was not aware (nor am I after watching the movie I dare say) of the real Benedetta.
Paul Verhoeven likes to provoke and I am certain he did change quite a few things surrounding the ... "myth"(?) of our titular character. Take that with a grain of salt ... or a Jesus on a cross for that matter (pun very much intended and if that offends you - well you better not watch the movie, unless you like getting angry and upset of course).
There is some violence and blood, though the most cruel and "hurtful" scene happens off camera ... still just the thought of it ... and that I believe is something that did happen back then - probably exactly like that. Not spoiling anything by saying that - and also not spoiling anything by saying there is quite a lot of nudity in this. It's Paul Verhoeven, what did you expect? Kudos to the actresses and their more than brave performances (with or without clothes - excellently played).
The cast in general can be showered in praise. The costumes, make up effects, cinematography and sound design are working hand in hand, to bring you back .. so you feel like you are part of that timeline. A really tough story and one with a weird main character ... can we actually sympathize with her? I think if anything we are rooting more for her "lover" ... that being said, the movie is quite critical of almost everyone - but mainly the church. Sometimes subtle, sometimes openly going after things that were practised back in the day ... also how the public perceives things can be a good or a bad thing ... but we knew that - didn't we? And with that I say ... "enjoy" - and believe whatever you want to believe!
Paul Verhoeven likes to provoke and I am certain he did change quite a few things surrounding the ... "myth"(?) of our titular character. Take that with a grain of salt ... or a Jesus on a cross for that matter (pun very much intended and if that offends you - well you better not watch the movie, unless you like getting angry and upset of course).
There is some violence and blood, though the most cruel and "hurtful" scene happens off camera ... still just the thought of it ... and that I believe is something that did happen back then - probably exactly like that. Not spoiling anything by saying that - and also not spoiling anything by saying there is quite a lot of nudity in this. It's Paul Verhoeven, what did you expect? Kudos to the actresses and their more than brave performances (with or without clothes - excellently played).
The cast in general can be showered in praise. The costumes, make up effects, cinematography and sound design are working hand in hand, to bring you back .. so you feel like you are part of that timeline. A really tough story and one with a weird main character ... can we actually sympathize with her? I think if anything we are rooting more for her "lover" ... that being said, the movie is quite critical of almost everyone - but mainly the church. Sometimes subtle, sometimes openly going after things that were practised back in the day ... also how the public perceives things can be a good or a bad thing ... but we knew that - didn't we? And with that I say ... "enjoy" - and believe whatever you want to believe!
It's hard to tell if this movie is trying to be realistic while implying some messages on religious hypocrisy, delusion and desires, or if it's just trying to be a fantasy, or even satirical. But it's definitely compelling, exciting and entertaining. It's provocative, crazy and might be annoying to some. Lead performance is solid.
- atractiveeyes
- Nov 8, 2021
- Permalink
A medieval story of desire, love, delusion, religion and betrayals that mildly titillates, but ultimately flails, delivering very little value, with no arc to the tale.
Based on a non-fiction book by Judith C. Brown, "Benedetta" is the latest motion picture from Dutch filmmaker Paul Verhoeven. It focuses on the years in which Benedetta rose to the summit of the Theatine convent in Tuscany, Italy.
In the film, premiering at 2021 Cannes Film Festival, nuns play power games against each other in 17th-century Italy. Featuring powerful cinematography with religious, erotic, blasphemous, sexual and violent scenes, this film is sure to get attention worldwide with its sexual intrigue, emotional intensity and unexpected moments.
Fantastic performances from Virginie Efira as the titular nun, Daphne Patakia as the vulnerable peasant girl Bartolomea, Charlotte Rampling as the Mother Superior Felicita and Louise Chevillotte, as her daughter Christina, along with Lambert Wilson, Hervé Pierre and Olivier Rabourdin.
In the film, premiering at 2021 Cannes Film Festival, nuns play power games against each other in 17th-century Italy. Featuring powerful cinematography with religious, erotic, blasphemous, sexual and violent scenes, this film is sure to get attention worldwide with its sexual intrigue, emotional intensity and unexpected moments.
Fantastic performances from Virginie Efira as the titular nun, Daphne Patakia as the vulnerable peasant girl Bartolomea, Charlotte Rampling as the Mother Superior Felicita and Louise Chevillotte, as her daughter Christina, along with Lambert Wilson, Hervé Pierre and Olivier Rabourdin.
- L_Avventura
- Aug 11, 2021
- Permalink
If Virginie Efira is the saint of religious films, every atheist will pay attention to religion, why not!
One of the most interesting things that Verhoeven tells us is the ambiguity in portraying Bendeta as a person who receives God's grace or as an intelligent girl who uses her mind to achieve her desires,It had a well-made film and good soundtrack and storytelling was a good drama / melodrama.
One of the most interesting things that Verhoeven tells us is the ambiguity in portraying Bendeta as a person who receives God's grace or as an intelligent girl who uses her mind to achieve her desires,It had a well-made film and good soundtrack and storytelling was a good drama / melodrama.
- Farzad-Doosti
- Jan 5, 2022
- Permalink
Sex. Religion. Power. With these three ingredients in a movie, you can't go wrong. In 'Benedetta', the combination is the basis for a compelling story. Pretending to be miraculously blessed by God, the nun Benedetta starts a ruthless power struggle in her convent, meanwhile not holding back in fulfilling her carnal desires.
Instead of turning his attention on the person Benedetta, her motives and her psychology, director Paul Verhoeven takes the easy road. He is much more interested in her body than her mind. Female nudity is abundant and most of the nuns are pretty and sensual. There is also a lot of violence, because Benedetta has disturbing dreams and visions, resulting in some scenes that are completely over the top. The much written-about dildo, made out of a small statue of the virgin Mary, makes one doubt how seriously the film should be taken. Verhoeven doesn't miss any opportunity to please a thrill-seeking audience, instead of challenging his viewers. The story contains interesting elements, worth exploring, such as the contrast between Benedetta, who is well educated, and her lover Bartolomea, a peasant girl who can't read or write. But the only thing Verhoeven focuses on, is their mutual sexual attraction.
Don't get me wrong. Benedetta is a very entertaining film. It is exciting from start to finish and doesn't contain any dull moment. This is a film made by a craftsman who knows how to please an audience. But personally, I think the story could have been dealt with in a different way. Verhoeven's film is a succession of spectacular events, filmed in a spectacular way. I would have liked it more if it had been a bit less explicit, and more understated. But of course, understatement has never been one of Verhoeven's strong points.
Instead of turning his attention on the person Benedetta, her motives and her psychology, director Paul Verhoeven takes the easy road. He is much more interested in her body than her mind. Female nudity is abundant and most of the nuns are pretty and sensual. There is also a lot of violence, because Benedetta has disturbing dreams and visions, resulting in some scenes that are completely over the top. The much written-about dildo, made out of a small statue of the virgin Mary, makes one doubt how seriously the film should be taken. Verhoeven doesn't miss any opportunity to please a thrill-seeking audience, instead of challenging his viewers. The story contains interesting elements, worth exploring, such as the contrast between Benedetta, who is well educated, and her lover Bartolomea, a peasant girl who can't read or write. But the only thing Verhoeven focuses on, is their mutual sexual attraction.
Don't get me wrong. Benedetta is a very entertaining film. It is exciting from start to finish and doesn't contain any dull moment. This is a film made by a craftsman who knows how to please an audience. But personally, I think the story could have been dealt with in a different way. Verhoeven's film is a succession of spectacular events, filmed in a spectacular way. I would have liked it more if it had been a bit less explicit, and more understated. But of course, understatement has never been one of Verhoeven's strong points.
The basic virtue of film is its high realism. Sure, exposed with the tools of Paul Verhoeven. A film about faith, power, manipulation, survive, leadership and a splendid portrait of counter reformation atmosphere, from innocence to faith as refuge , from the discover of lust to the dark side of a person appartaining to one world.
The second virtue can be the impecable work of Charlotte Rampling as Mother Felicita.
Not the less, the performance of Daphne Patakia , remembering, at the first look, Rosalinda Celentano in the Passion Of Christ, mixing wildness and profound innocence, lovely simplicity and fears .
About Virginia Efira , her beauty seems for me the basic tool to build the character. I do not ignore the performance but the beauty represents just the axis for give a fair portrait of Beneditta.
The statue of Holy Virgin was, I admitt, a serious motif to be scandalized . But, in same measure, I see its use as a portrait of lost of the innocence of childhood.
I am conscient than I saw this film as Greek Orthodox Christian . The Catholic world, in so many stories, is discovered in this film almost scene by scene. That is the reason for who I admired its realism. Because it is a panel with so familiar pieces defining, sure, in popular mind, Catholicism.
A beautiful film, having as sin the not most inspired construction of visions. But, sure, the message is the significant one and the large gallery of portraits , few like Mother Jacopa being useful for remind, as delicate sketch, not comfortable truths.
The second virtue can be the impecable work of Charlotte Rampling as Mother Felicita.
Not the less, the performance of Daphne Patakia , remembering, at the first look, Rosalinda Celentano in the Passion Of Christ, mixing wildness and profound innocence, lovely simplicity and fears .
About Virginia Efira , her beauty seems for me the basic tool to build the character. I do not ignore the performance but the beauty represents just the axis for give a fair portrait of Beneditta.
The statue of Holy Virgin was, I admitt, a serious motif to be scandalized . But, in same measure, I see its use as a portrait of lost of the innocence of childhood.
I am conscient than I saw this film as Greek Orthodox Christian . The Catholic world, in so many stories, is discovered in this film almost scene by scene. That is the reason for who I admired its realism. Because it is a panel with so familiar pieces defining, sure, in popular mind, Catholicism.
A beautiful film, having as sin the not most inspired construction of visions. But, sure, the message is the significant one and the large gallery of portraits , few like Mother Jacopa being useful for remind, as delicate sketch, not comfortable truths.
- Kirpianuscus
- Nov 23, 2021
- Permalink
"Benedetta" is a Paul Verhoeven film. It's a line that basically says nothing at all, but - and especially if you're familiar with the full oeuvre of this peculiar director - says everything. It means that you don't know what you'll be getting, but simultaneously also that you'll be getting certain fixed themes & topics that are Verhoeven's hobbyhorses.
Let me clarify. Regardless of the setting, era, or premise, Paul Verhoeven ALWAYS harshly criticizes established values and "sacred cows". In "Robocop" it was the police force and the privatization of public institutions. In "Starship Troopers" it was the military and the subtle glorification of fascism, and in "Benedetta" it is the centuries' old hypocrisy of the Catholic Church. This man does not avoid any taboo and destroys every institution with influence and/or authority. You can also be sure that in every new film by Verhoeven a strong, over-emancipated, and practically unscrupulous woman takes the lead. Sharon Stone had the honor in "Basic Instinct," "Showgirls" featured exclusively strong women, and in "Benedetta," the breathtaking Virginie Efira plays a nun who doesn't answer to any known stereotype of a nun. It's all vintage Paul Verhoeven, but at the same time you get a film of which you can never predict what will happen within the next five minutes. That's also why he's one of my favorite directors of all time.
"Benedetta" certainly wasn't Verhoeven's easiest project, as he struggled with many production issues and delays. There was this little global pandemic we all suffered from, obviously, but the director also faced personal healthy issues and there was a painful conflict with the writer with whom Verhoeven collaborated for several decades already. All this, and a handful of defaults and shortcomings within the film itself, brings me to say "Benedetta" isn't the masterpiece I hoped for.
Nevertheless, though, it's a compelling and often astounding period piece/drama with some unforgettable moments. Benedetta's dreams/visions in which she's the mistress of a furiously enraged Jesus Christ, as well the blood-soaked stigmata moments, are pure exploitation madness. The performances are stupendous. Efira is magnificent, but so are Charlotte Rampling, Daphné Patakia, and Lambert Wilson. The locations and photography are stunning, the music is divine, and the eroticism/sex is, well, ...arousing!
Let me clarify. Regardless of the setting, era, or premise, Paul Verhoeven ALWAYS harshly criticizes established values and "sacred cows". In "Robocop" it was the police force and the privatization of public institutions. In "Starship Troopers" it was the military and the subtle glorification of fascism, and in "Benedetta" it is the centuries' old hypocrisy of the Catholic Church. This man does not avoid any taboo and destroys every institution with influence and/or authority. You can also be sure that in every new film by Verhoeven a strong, over-emancipated, and practically unscrupulous woman takes the lead. Sharon Stone had the honor in "Basic Instinct," "Showgirls" featured exclusively strong women, and in "Benedetta," the breathtaking Virginie Efira plays a nun who doesn't answer to any known stereotype of a nun. It's all vintage Paul Verhoeven, but at the same time you get a film of which you can never predict what will happen within the next five minutes. That's also why he's one of my favorite directors of all time.
"Benedetta" certainly wasn't Verhoeven's easiest project, as he struggled with many production issues and delays. There was this little global pandemic we all suffered from, obviously, but the director also faced personal healthy issues and there was a painful conflict with the writer with whom Verhoeven collaborated for several decades already. All this, and a handful of defaults and shortcomings within the film itself, brings me to say "Benedetta" isn't the masterpiece I hoped for.
Nevertheless, though, it's a compelling and often astounding period piece/drama with some unforgettable moments. Benedetta's dreams/visions in which she's the mistress of a furiously enraged Jesus Christ, as well the blood-soaked stigmata moments, are pure exploitation madness. The performances are stupendous. Efira is magnificent, but so are Charlotte Rampling, Daphné Patakia, and Lambert Wilson. The locations and photography are stunning, the music is divine, and the eroticism/sex is, well, ...arousing!
The many vicissitudes attendant upon convent life have been a cinematic mainstay since at least 'The Song of Bernadette' eighty years ago; while as you might expect from a film directed by Paul Verhoeven this particular manifestation takes ample advantage of the Sapphic potential implicit in a bunch of lonely young maidens cooped up without men.
The tone is established early on when on her first appearance mother superior Charlotte Rampling's immediate concern is to haggle over the young Benedetta's dowry; while a few minutes later after her prayer to the Virgin Mary is answered by the statue toppling on to her according to the nuns who witness the event the fact she wasn't killed was the miraculous part.
A PEDANT WRITES: Employing subtitles confers a certain gravitas, but did people in the Middle Ages really say "screw her"?
The tone is established early on when on her first appearance mother superior Charlotte Rampling's immediate concern is to haggle over the young Benedetta's dowry; while a few minutes later after her prayer to the Virgin Mary is answered by the statue toppling on to her according to the nuns who witness the event the fact she wasn't killed was the miraculous part.
A PEDANT WRITES: Employing subtitles confers a certain gravitas, but did people in the Middle Ages really say "screw her"?
- richardchatten
- Aug 26, 2023
- Permalink
When they see this wholy unconventional convent ,religious dramahorror thiller, of 15th century european religious landscape threatened from all angles, like pestillence and comets and the inquisition, in a crooked abbedisement that tries to make a saint outta one of the members of the klosters, enduring saccral erotic fantasies, and the kind of most exquisit lesbian eroticism come to life, that may endorse anger from the most pope-linius vievers in the filmtheater.
A lovely and mysterious production that will shake some foundations, the locations, sets and acting are just enthralling and enwitching as never made before(except in the state of sexomania) a film that tiptoes the edges of acceptness among the holy and glorious viewers.
So the grumpy old man experienced the miracle and the rise of the cheesedoodle yet again, and i think many more out there will grin the same way as he did. A big recommend to this tet-a-tet story of the past.
A lovely and mysterious production that will shake some foundations, the locations, sets and acting are just enthralling and enwitching as never made before(except in the state of sexomania) a film that tiptoes the edges of acceptness among the holy and glorious viewers.
So the grumpy old man experienced the miracle and the rise of the cheesedoodle yet again, and i think many more out there will grin the same way as he did. A big recommend to this tet-a-tet story of the past.
Verhoeven is up to his usual style with his newest film. Violence, sex and religious hypocrisy. He pushes boundaries as only he can do. The cast does a superb job especially Virginie Efira, Daphné Patakia and of course Charlotte Rampling who never disappoints.
- rkeilitz-19-537915
- Nov 16, 2021
- Permalink
Paul Verhoeven directed the film about lesbian nuns we all wanted to make when we were teenagers. And more surprisingly, he made a really good film of that.
Well done, old man! 😈🙌
Well done, old man! 😈🙌
- PedroPires90
- Nov 28, 2021
- Permalink
This film is an absolute beauty - the detail, the lighting, the sets, the costumes... Paul Verhoeven at his absolute best. A great movie. Despite being a drama, it has the vibes of a thriller.
Not particularly a fan of latest Verhoeven movies (especially Elle) but fan of V. Efira, I feel now screwed by the trailer of this movie, after seeing it.
So much waste of time, so many scenes and things badly made, how boring! Firstly, I've already seen historical movies better made, lots of details were literally botched, including digital effects. Overall, it gave the impression of a bad TV movie, despite one could think it was even a comedy sometimes LOL Some scenes played were not realistic towards the Middle-Age period and lots of dialogues were well out of context, as vulgarly played.
Secondly, I felt the lesbianism of the main character filmed like by an old straight perv', using this opportunity to present the actresses naked at all times for unknown reasons, although I'm everything but puritan and bigot... some scenes came also out completely of the blue. I don't understand why he didn't on the contrary present it like a fight against temptation and like finding a balance between her mystic inspiration and her basic terrestrial love. For example, what's the context of the very last scene, frankly? Why?
Thirdly, some gore stuff appears from time to time and I still wonder why... again, there are ways to film soldiers' fights in a more subtle way without trying to imitate badly Q. Tarantino.
Finally, I don't understand why European film world runs after this director for a few years, come on, he's done better when he wasn't acclaimed in Europe, precisely...
So much waste of time, so many scenes and things badly made, how boring! Firstly, I've already seen historical movies better made, lots of details were literally botched, including digital effects. Overall, it gave the impression of a bad TV movie, despite one could think it was even a comedy sometimes LOL Some scenes played were not realistic towards the Middle-Age period and lots of dialogues were well out of context, as vulgarly played.
Secondly, I felt the lesbianism of the main character filmed like by an old straight perv', using this opportunity to present the actresses naked at all times for unknown reasons, although I'm everything but puritan and bigot... some scenes came also out completely of the blue. I don't understand why he didn't on the contrary present it like a fight against temptation and like finding a balance between her mystic inspiration and her basic terrestrial love. For example, what's the context of the very last scene, frankly? Why?
Thirdly, some gore stuff appears from time to time and I still wonder why... again, there are ways to film soldiers' fights in a more subtle way without trying to imitate badly Q. Tarantino.
Finally, I don't understand why European film world runs after this director for a few years, come on, he's done better when he wasn't acclaimed in Europe, precisely...
It will be called subversive. There will be appreciation. There will be hate and there will be love, but if people took their time to read Paul Verhoeven's book about Jesus of Nazareth as a historical figure, they shouldn't be surprised about this film, which is based on a true story, Judith Brown's study Immodest Acts, about the rise and fall of the lesbian nun Benedetta Carlini.
I had so much fun watching this movie. Great acting, excellent story. Peak Paul Verhoeven, even at the age of 82. Apart from the usual Verhoeven elements, there are profound questions about the State and the Church, especially regarding interpretation of the Bible and the determination of God's will. Benedetta is a believer in a cynical world. For certain reasons, she needs a private place - in a world where 'private' isn't highly appraised and because of that, she'll have to turn to cloister politics. Benedetta is a great film about morals and who decide about them and when. I'll re-watch it very soon.
I had so much fun watching this movie. Great acting, excellent story. Peak Paul Verhoeven, even at the age of 82. Apart from the usual Verhoeven elements, there are profound questions about the State and the Church, especially regarding interpretation of the Bible and the determination of God's will. Benedetta is a believer in a cynical world. For certain reasons, she needs a private place - in a world where 'private' isn't highly appraised and because of that, she'll have to turn to cloister politics. Benedetta is a great film about morals and who decide about them and when. I'll re-watch it very soon.
- peter-bogert
- Oct 16, 2021
- Permalink
- BandSAboutMovies
- Apr 15, 2022
- Permalink
This movie is just poor screenplay writing. The entire first half is over developed for a romatic tryst between two young women in a monestery and is a completely obvious storyline leading to lesbian type encounters. The actual plot contains mostly instances where things happen to promote the lust between these two women that eventually seems to be the real plot of the movies. Meh. No worth a watch.