‘I don’t know God’s ways, but he works his will through me...’
It is indicative of how ridiculous we are as a species that there is such a genre as nunsploitation. The Devils, The Nun of Monza and Alucarda are some of the more notorious examples, but recent years have also brought forth The Nun, Agnes and now Benedetta – Paul Verhoeven’s contribution to one of the more outrageous subgenres. Verhoeven is no stranger to controversy, of course. Indeed, with films such as Basic Instinct, Showgirls and Robocop he has actively courted it. Benedetta is his first project of note since 2016’s Elle, and it is a doozy…
Benedetta (Virginie Efira) is a nun in 17th-century Italy. After she becomes plagued by erotic and disturbing visions, the convent believe that Jesus Christ is speaking directly through her. After ousting the suspicious mother superior (Charlotte Rampling) and befriending Bartolomea (Daphne Patakia), an impressionable younger woman, Benedetta must prove that her strange visions are real.
Despite invoking the nunsploitation tag earlier, Benedetta is remarkably staid. Not in its depiction of violence, sex scenes and nudity, but in its plotting and delivery. This is very much a serious film with very few nods and winks to camera. Whilst surprising, this actually makes for a much better film, and almost justifies the whopping 131 minute running time. It helps that Belgian actress Virginie Efira gives the performance of a lifetime in the titular role, and Verhoeven’s decision to keep the true nature of her possession ambiguous also pays off.
Ultimately, for a filmmaker famous for his wild excess (Total Recall, Starship Troopers) and his ability to offend (Showgirls, Basic Instinct), Benedetta might actually be the most accomplished film Verhoeven has ever put his name to. Not the most entertaining mind, but probably the most competent. For those with an interest in religious iconography and how it can be subverted and made grotesque, Benedetta is essential viewing.