The Nun

I found this rather begged comparison to Bresson's perfect Angels of the Streets, and paled. I suppose it's not a fair comparison: This is Diderot, technically an 18th century work and not a period piece. And it is quite exquisite in its intelligence, complexity and boldness. If it weren't for a plodding second act, it might even have been captivating. While flawed, it amounts to quite a brilliant existential meditation, and not a mere poke at Christianity.

For about half the running time, this seems an interesting if slightly anachronistic (e.g. the makeup) but perhaps predictable exploration of the working of power in 18th-century religious society. Then there is a turn that makes this a much more fascinating exploration of the relationship between dreams, fantasies and desire. As with all genuine experimenters, Rivette's films don't always work, but they always contain the possibility of surprise, which opens genuine questions. Look for the cat!

Everybody's trapped here, but the fate of Suzanne is especially cruel. She's not granted any individuality and even when hope comes up, it soon gets destroyed by the hypocritical or uptight people around her, who aren't allowed or willing to be honest with themselves or her. The colors are mostly cold and so the part in the second convent with its more bright setting gets particularly eerie. I've probably never felt so much tension because of surpressed sexual desire in any movie before.

One of the most powerful prison films ever made. Rivette depicts Christian values as a cage of hypocrisy, rotten concepts of life and a suicidal trap as we follow a young woman who finds out she's a bastard destined to suffer -- from psychological and physical torture to persecution and lesbian desire; her every move ends in despair, punishment, death wish. When she's free, suffers a rape attempt, ends in the streets, then a prostitute. Her only way out is really jumping out of a window.

Shines light on the everlasting contrast between personal faith and institutionalized religion. Somewhat powerful, but distant.

Rivette's adaptation of Denis Diderot's 18th century novel was initially banned in France due to it's fairly extreme criticism of the Catholic Church, and by extension, organized religion. Although it's specific criticisms are centered on 18th century church practices, it's wider target is the way religious institutions are warped by the motives of it's leaders, a serious problem in any authoritarian structure.

Very bizarre film. It looks like it does not impress you much while I was watching but more I think about it this simple story looked more effective and deeper than I thought.

This is a horror film; the doomed fate of those who are called to serve God but who are not called by God. They spiritually die. Whether they are sacrilegious or pious in nature is all relative (in this case dependent on the convent context). They are damned if they do and damned if they don’t. Like most Rivette films that I’ve seen, the pacing here is perfect; the rhythm changes to take hold of the viewer and not let go. The four distinct acts hang seamlessly together; Rivette is a master.

Viewed November 2, 2017.

Around the middle it starts to feel like it's focusing on the less interesting parts and skipping over the most interesting stuff (yes I'm talking about the boiling sexual tension) but the turn in the third act improves things dramatically, even if, by the denouement, the compounding nature of Suzanne's predicaments are verging on comical. A fascinating character though, and Karina's ambiguous performance is perfect.

Semana em honra de Anna Karina (1940 - 2019) filme #3, uma das grandes verdadeiras musas da minha cinefilia. Esse é meu filme favorito com Anna Karina, ao lado de Pierrot Le Fou, havia prometido que não iria revê-lo antes de ler o livro de Diderot aqui na minha estante, mas a promessa não foi cumprida. Cada frame é una pintura, mas o que eu gosto mesmo desse filme é o sentido foucaultiano de prisões eternas, onde quer que estejamos as instituições nos cercearão. BlurayRip no MakingOf

"A garish potboiler first and a harsh critique of religious institutions last." - Keith Uhlich

Başyapıt seviyesinde. Çok sert ve çok güçlü bir film. Rivette'in bu kadar zorlu bir materyale yaklaşımı ve elinde tutuşu muazzam. Acilen Diderot'un romanı okunmalı.

First Rivette film that I've seen and apparently one of his most conventional and shortest ones. It has a strong atmosphere and some scenes almost feel like they belong to a Gothic thriller. I actually felt that the film improved towards the end which is rare. It's a very bleak and bold film, and it's not surprising that it stirred controversy back in the day. Anna Karina is great in the title role. I'll definitely check some other films by the director as well.