The rise of Sydney Sweeney to stardom has been meteoric, often turning headlining news into shocking tales – giving rise to the fear that the youthful sensation might end up in a film on nun exploitation. Vulgar comments abound as Sr Cecilia makes her entrance from Michigan into an Italian, traditional-era convent. Some senior clerics appear to be undeniably ogling. It’s uncomfortably reminiscent of Sex Nuns of St Pervoso.
Rest assured, while Immaculate is indeed distasteful, it’s only in the kind of way that’s reminiscent of old-school gore. The convent, essentially a refuge for afflicted nuns, results in occasional shock sequences as Cecilia, finding solace in Alvaro Morte’s scientific priest, faces scrutiny beyond what feels suitable. A revealing medical examination paints a fascinating picture: she arrived and remained chaste, yet is expecting. As one might expect, this development changes her status dramatically.
It’s necessary to highlight (to save the pub know-it-alls the trouble) that despite indications from the title or snippets within the story, the Immaculate Conception doctrine doesn’t insinuate anything about sex or Christ’s conception. These theological incongruencies don’t detract from a storyline that hurtles at a thrilling pace towards a lavishly exciting climax. There appear to be some gaps in the plot due to editing, but that’s preferable to excess dead weight.
The film’s setting, introduction and misleading time period – it seemed to be set in the 1970s until a mobile phone rings – pays homage to Dario Argento’s Italian films. Immaculate, however, lacks the same depth or resonance. Despite this, Michael Mohan’s take is imbued with a relentless momentum that leaves little time for recovery. It would be nothing though, without the charismatic Sweeney in the lead role.
Indeed, Sweeney proves that she is just that – and the final scene attests to her gutsy spirit. It’s fun in a novel way. Immaculate hits the big screen from the 22nd of March.