Her performance immediately joins the all-time great screen depictions of domineering clergywomen — right up there with the late Geraldine McEwan in “The Magdalene Sisters” and Agata Kulesza in last year’s Sundance-premiered “The Innocents.”
Missing the sexual hysteria of Mexican remake Muchachas in Uniform (1951), or the Powell and Pressburger classic Black Narcissus (1947), and avoiding plenty of vile abuses as those brought against the captive young wards of 2002’s The Magdalene Sisters (even Nicloux’s remake of The Nun presents as seedier than this) lends Betts’ film a sometimes-neutered tone, perhaps to build sympathy for the plight of the nuns and the limited capacity Vatican II’s revisions afforded them.
This is not like The Magdalene Sisters, the 2003 film set in a 1960s Irish girls school (run by nuns and priests) that focused on the brutalization of women in a strict Catholic environment.
I hate movies about priests, nuns, delusional dogma and religious obsession of any kind, but a startling, powerful, keenly nuanced and beautifully made film about young girls struggling to become nuns under anti-diluvian conditions ranks high up there with The Magdalene Sisters and Black Narcissus as an unforgettable portrait of spirituality under stress.