La religieuse

La religieuse is an interesting account of the life of the recluse who seeks a life of serenity, away from the distraction of the world only to find themselves amind cruel, pitiless and sadistic individuals who use religion and the name of God as an excuse to inflict pain on others. Prior to watching this adaptation, I have read few pages of Diderot's novel, and I can say that the movie does justice to the work, and now that I am continuing the reading, I can vividly picture the scenes of the movie, along with Pauline Etienne who gives life to the character of Suzanne Simonin, as i read through the pages.

Denis Diderot wrote La Religieuse (The Nun) in 1780 and the power in this story remains intact in this screen adaptation by Guillaume Nicloux (who also directs) and Jérôme Beaujour. Diderot was a radical freethinker, rejecting conventional dogma and associated himself with some of the most enlightened philosophers of his age. His books were burned and Diderot himself served three months in Vincennes prison in retaliation for his attacks on the conventional morality of the day. Some of his books were considered so radical that they were banned until after his death.

The story takes place in France, in the 1760s. Born to a bourgeois family, Suzanne (Pauline Etienne) is a beautiful young girl with a natural talent for music. Despite her faith, she is dismayed when her parents send her off to a convent, expecting her to become a nun. Suzanne first resists the rules of the convent, but soon finds out that she is an illegitimate child, leaving her no other option than to pronounce her vows and suffer the consequences of her mother's sin. She soon wants to escape the religious path and is trying to revoke her vows when the Mother Superior, who had brought her comfort and solace, dies. Her successor, Sister Christine (Louise Bourgoin), turns out to be a sadistic and cruel Mother Superior, inflicting the worst forms of humiliation upon Suzanne, such as depriving her of food and clothing. Suzanne is finally transferred to another convent, where she discovers another kind of Mother Superior (Isabelle Huppert), who develops an inappropriate affectionate bond with her. The story is one of a woman trying to resist imposed religious values, revealing the dehumanizing effect of cloistered life.

Pauline Etienne is radiant as Suzanne and as always Isabelle Huppert delivers a riveting performance. The costumes by Anaïs Romand are especially fine as is the musical score by Max Richter. This is a superb film on every level.

From the first few minutes the movie seems too plain and boring. There are only two scenes which take up too much time and do not explain anything completely. The plot is silly, the music is unsatisfying. Don't recommend this for watching to anyone.

I am a fan of Diderot by way of Rousseau. And his novel was interesting in the letter based structure. It quite forward thinking for its time, in that while the Enlightenment was directly challenging many statistic and institutional ideas, very few Enlightenment writers were including women in their considerations.

That said the user reviews here and especially the professional reviews are a bit overwrought as a result of leaving out context. Firstly almost all people were locked into vocation, virtually never of their own choosing, as everything about their life. Certainly married women were, and subject to control and violence that makes anything in "The Nun" pale by comparison. So too was just about anyone else for most of human history. Either overtly owned or tied to the land and their "station' and subject to warlord or state violence for for chalking that. Certainly in mid/late 18h century Nuns were eating better (no small thing in world were people regularly starved to death), were safer in almost every way than most other people, certainly than the great majority of men, who were much more likely to be inducted into the military as cannon fodder.

Again, the 1966 version is better, and better yet is the novel.

Imagine being sent to a convent against your will. Imagine taking a religious vow in which you don't personally have faith. Imagine discovering that the treacherous currents of guilt, power, control and sex remain every bit as relevant within a nunnery as outside of it. Such is the tragic predicament in which the film's titular nun finds herself in this handsomely-shot - if not entirely well-executed - adaptation of 18th-century French philosopher Denis Diderot's controversial novel.

With the family coffers drained for the dowries of her two elder sisters, Suzanne Simonin (Pauline Etienne) is sent to a convent. She has no desire to be there, and makes that known to the kindly abbess who takes care of her. When her benefactress mysteriously dies, convent life rapidly becomes all the more complicated. Suzanne finds herself treading far murkier waters, her wellbeing completely at the mercy of the cold, unforgiving Supérieure Christine (Louise Bourgoin) and the overly attentive Supérieure Saint-Eutrope (Isabelle Huppert).

For much of its running time, The Nun explores Suzanne's plight with a steely depth and determination that's fascinating to watch. There's an icy tension to her confrontations with Supérieure Christine: these are rife with politics, power and drama, as the flock of nuns dutifully turn against Suzanne with the capricious menace of school-children on a playground. Etienne is wonderful throughout, playing Suzanne's rebellious spirit as convincingly as she does her moments of surrender and despair.

It's when the usually magnificent Huppert appears on the scene that The Nun stumbles badly. Huppert's character is drawn in broad, garish strokes, with none of the depth, complexity and subtlety of which she is so very capable. Almost laughably, Supérieure Saint-Eutrope appears to be little more than a fickle, amorous gargoyle leeching on the younger nuns in her charge.

Perhaps that's partly the point - it could be a tip of the hat to the fact that Diderot's novel started out as an elaborate practical joke on a friend, rather than a genuinely impassioned treatise on the state of the church. Even so, the shift in tone from considered to campy is abrupt and, ultimately, too much to bear.