By: Jolie Featherstone

[CW: Violent punishment, religious trauma, forced birth, miscarriage, newborn murder] 

IT girl Sydney Sweeney (Anyone But You, Madame Web) puts herself in motion to be the next Scream Queen in the blood-soaked, religious horror film Immaculate.

Cecilia, a young and devout Christian woman, emigrates from America to the scenic Italian countryside after being offered a new role as a nun at a convent.  Rookie-fresh and eager to please at first, it starts to dawn on Cecilia that there is more than meets the eye at her new palatial home.  Within the echoing, labyrinthine walls of the convent, an all-consuming darkness is cultivated. 

Sweeney, the star and co-producer, and director Michael Mohan team up once again after previously working together on projects such as the (sadly short-lived) 90s-set Netflix series Everything Sucks! and 2021’s thriller The Voyeurs. Immaculate is a well-made horror film and the ‘twist’ is innovative, truly creepy and, dare I say, topical given the political landscape in America.  The cinematography by Elisha Christian, another frequent Mohan collaborator and the genius DP behind Kogonada’s Columbus is stunning.  Gothic, gorgeous, moody, with 1970s-European-art-house leanings – it is gorgeously shot.  The film is also effectively lit.  Even with scenes in shadowy, candle-lit spaces, Immaculate doesn’t have the dark muddiness that makes a lot of modern films unclear.  Following the topic of storytelling aesthetic, there is a tableau-like shot wherein Cecilia is dressed and made up to look like the Madonna (with exquisite work by the make-up and hair artists and costume designers) that is unforgettably artistic. 

Sweeney’s performance gradually progresses in strength throughout the film.  At first, her performance is a bit wooden.  As the film progresses and Cecilia’s awareness of the nefariousness of the convent grows, Sweeney’s performance becomes more expressive.  We start to see the rebellion in her eyes.  We start to see Sweeney really step into her power in this performance.  The final 20 minutes in particular makes this role an iconic performance for her career – and in recent horror history.  In a tight close-up, face smeared in blood contrasting with the wild whites of her eyes, Sweeney delivers a primeval scream. 

It’s interesting though how Cecilia arrives at the convent highly devout and pious and then, as she learns more about what is happening in the shadows of the convent, her rock-solid, previously unshakeable faith starts to shake.  The real beginning of her questioning seems to start from a conversation with the one friend she makes in the convent, a fellow young Nun Sister Gwen (Benedetta Porcaroli in a scene-stealing performance).  Sister Gwen got into this role for very different reasons than Cecilia.  Gwen leaves Cecilia wide-eyed when Cecilia asks her if she believes in God and Gwen responds: “Of course I do.  This world is so cruel, only a man could be responsible.”  Cecilia soon sees how dissenting voices are treated by those in charge at the convent – no matter how noble and protective of the fellow Sisters that voice may be. 

Immaculate will offend.  Screenwriter Andrew Lobel certainly wrote to offend.  It walks the line on elements that are typically no-fly zones for film.  Think how Darren Aronofsky’s Mother! lays asunder what we deem sacred.  Mother! was more metaphorical in nature.  In Immaculate’s case, the material is more literal…and quite visual.  There are plenty of people who will not like where this movie goes.  For those thinking they’re walking into some rendition of The Nun or another James Wan-style property, be warned, Immaculate is not that type of movie. 

Immaculate isn’t a genre game-changer, but it is a well-constructed, beautifully-shot horror with a classic spirit.  Reminiscent of Roman Polanski’s Rosemary’s Baby and Luca Guadagnino’s Suspiria, Immaculate is sure to ruffle some feathers.

**********

Do You Tweet? Follow These Tweeple:

Jolie Featherstone: @TOFilmFiles