‘IMMACULATE’: Sydney Sweeney Does Not Disappoint In This Religious Horror Redeemed By A Powerful Finale
Written by Andrew Lobel and directed by Michael Mohan, this journey, though at times uneven, takes us behind the sacred walls of an Italian convent where Religion and science blend.
It begins with a young nun (Simona Tabasco) fleeing in terror through the dark, empty halls of an Italian convent. Her plan to escape unnoticed in the middle of the night is thwarted when a group of masked nuns intercepts her at the front gate, breaking her leg and burying her alive as punishment. The scene then shifts to American nun Cecilia (Sydney Sweeney) arriving at a bustling train station, having traveled all the way from Michigan to take her vows.
Were it not for the nightmarish prologue, the idyllic Tuscan landscape Cecilia observes from her taxi’s windows would give no hint of the ominous events to come. We learn that she discovered her vocation after surviving an accident on an icy lake, a miraculous event she believes was orchestrated by a higher power, convincing her that God has a unique purpose for her.
Sydney Sweeney in ‘Immaculate’
After Cecilia arrives at the convent, we traverse an endless series of corridors with her, set against a backdrop of religious choirs that are both soothing and ominous. The light shines brightly outside but sparingly within the convent walls—beautifully captured by director of photography Elisha Christian—where the young nuns spend their days praying and assisting the older sisters in their final days.
Cecilia starts to see shadowy figures at night and is tormented by nightmares. Many things seem off, especially the presiding priest, Father Sal Tedeschi (Álvaro Morte), who appears fixated on her, eyeing her intently. Furthermore, mysterious black-hooded figures with red face masks lurk within the convent’s walls.
** spoiler alert **
Despite these ominous signs, Cecilia remains resolute in her commitment to her vows of chastity, poverty, and obedience to God—even after discovering she is pregnant. We anticipate a rebellion or at least some suspicion after the news, but her strong belief that she might be the chosen one, carrying the child of God, blinds her to the obvious truths. In contrast, Sister Gwen (Benedetta Porcaroli), Cecilia's only friend at the convent, questions this impossible pregnancy and refuses to submit to Father Sal Tedeschi. This brave defiance leads to a brutal punishment by the elder sisters, who kill her after cutting out her tongue.
As Cecilia’s pregnancy progresses and she begins to uncover sinister events, the once picturesque convent starts to feel increasingly claustrophobic, marking the film's transition into a survival odyssey.
But when the biologist-turned-priest finally reveals his dark (and somewhat implausible) secret, the film begins to lose its grip. This is partly because the audience has likely already guessed the twist, but also due to Father Sal Tedeschi’s underwhelming monologue clarifying his scheme. Additionally, the chase scenes, especially one in the hidden tunnels beneath the convent, lack suspense and style. It’s only after the final struggle scene between Cecilia and Father Sal Tedeschi that the truly engaging aspects of the film, which make it worth watching, begin.
As if undergoing a rebirth, she crawls through the tunnel that leads to her freedom, preparing to give birth herself. Rising to her feet, she's a mix of determination and fury. The camera stays fixed in a tight close-up on her blood-covered face as she unleashes a long, enraged scream containing months of frustration and anguish —a powerful moment. She decides to seize a massive rock and hurl it at her offspring. Her expression of terror upon seeing the child, whose menacing growls suggest its inhuman nature, is telling. There's no lingering moment of doubt captured on camera, no pause for contemplation.
Sydney Sweeney in ‘Immaculate’
After a last guttural roar filled with pain and trauma, she throws the stone, putting an end to her offspring and her ordeal. The conclusion is macabre and brutal, yet within the broader context of recent legislation concerning women's autonomy over their bodies, and the manipulation of religion to justify the erosion of human rights in this realm, it carries significant thematic weight.
There are several implausible details that occasionally disrupt the tension and overall impact of the film. However, it is rescued by stunning visuals, intricate costumes, and outstanding performances. Sydney Sweeney, especially, captivates with her nuanced portrayal as she evolves from a somewhat reserved character to releasing a long-awaited primal scream.
AFTERTASTE
3.5