In Sydney Sweeney’s most recent horror movie, a young nun becomes stuck in a biblical. Immaculate’s storyline is grounded in reality. Depending on the preference for religion, some of the greatest biblical movies ever produced are historical parodies.
Horror movies have never shied away from talking about religion. Yet doing so often results in the mixing of completely made-up stories with real-life ones. Immaculate is the latest religious horror film starring Sydney Sweeney as Sister Cecilia. A young woman moves to Italy to live with an old convent of nuns.
Is Immaculate Based on a True Story
No, the film “Immaculate” is not based on a True Story. Screenwriter Andrew Lobel came up with the idea for the plot of “Immaculate”. After working on it for over ten years. But director Michael Mohan also had a big part to play, since he took inspiration. From a lot of places, including Ken Russell’s 1971 classic “The Devils.” It bears similarities to “Immaculate” in that it delves into some extreme subjects that are potentially prohibited.
The Darren Aronofsky-directed horror film Mother!, starring Jennifer Lawrence. And the 1968 film Rosemary’s Baby is two additional films in the genre that are alluded to in the Sydney Sweeney film. According to the author and Sydney Sweeney, the screenplay was much different in its initial draft. Andrew was questioned about how the script had evolved from its initial draft in an interview with the Los Angeles Times.
Story of Immaculate
Sweeney portrays Cecilia, a young lady about whom we know nothing beyond her unwavering devotion. In “Immaculate,” Cecilia is a mystery, a piece on a genre board, much like practically every other character. Character development deficiencies aren’t necessarily an issue in movies with the right aesthetic, but Michael Mohan’s picture almost completely lacks visual language, seeming flat at crucial moments and dull at others. Given that it is an Italian horror movie set in a convent, this movie will likely be compared to the Giallo genre by many. However, Giallo is known for its bold, colourful cinematography, which “Immaculate” never even attempts, much alone succeeds at.
It was almost disturbing how unclear the actual historical period of the picture was when Cecelia arrived at this distant, very rural Italian monastery. Given that we have all seen those iconic horror film prologues when a young woman is killed by enigmatic entities, we are aware that the home of the Lord is perilous. In this one, a young nun tries to escape but is pulled from her endeavour and buried alive by nuns wearing red masks.
Cecelia experiences visions in the convent and feels uneasy with certain individuals around what essentially functions as a hospice for older sisters and a training facility for younger nuns, all before any actual time has passed.
Review of Immaculate
In Immaculate, the protagonist, Cecilia (Sweeney), plays the role of a defiant apostate. Railing against the Church (or at least its supporters on the Supreme Court). The story explores what it would mean if a seemingly immaculate conception happened in the modern world. Especially if it happened in the protective arms of a patriarchy that wants to suffocate their new virgin mother.
Sweeney is about as plausible as Sophia Loren in the 17th century as a Puritan in New England. As a bashful nun in 21st-century Italy. The movie makes an effort to address this discord by having several characters consider the paradox. But I’m not sure if it is successful in elevating a potentially casting fault to a virtue. But in its purgatory, it unearths enough information to show why Sweeney so obviously wants the part.
Sweeney finds a heroine in Cecilia who is put through some demon-inducing ordeals. To the point that her last-ditch struggle to survive approaches Nic Cage-esque levels of gonzo rage. Even with its Rosemary flourishes, the movie is more akin. To the violent Italian Giallo films of the 1970s, and its final act. Set around the Christmas season, is a really fine example of scenery-chewing.
Additionally, it’s the closest the movie gets to fulfilling its promise as a genre. The film’s central metaphor is incisive and wickedly cutting. But Mohan’s style is sometimes too garish and predictable to quite capture the high ground the movie aims for.
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