Film Review: Benedetta

Director: Paul Verhoeven
Starring: Virginie Efira, Charlotte Rampling, Daphne Patakia
Running time: 131 minutes

Through almost five decades of creating films, Dutch director Paul Verhoeven has cemented himself as one of the finest and most well-known provocateurs in Western cinema. Known for crafting controversial films that cover everything from lurid eroticism (Basic Instinct) to hyper violent science fiction (Robocop, Total Recall). With these films Verhoeven reflects on consumerism, militarisation, masculinity and much more; his latest film Benedette (which falls into the former category) is no different. 

Allegedly based on a true story, we follow the life of an Italian nun named Benedetta (Virginie Efira) who joins a convent, which is overseen by Abbess Felicita (Charlotte Rampling), in Pescia at a young age. After an eighteen-year time skip, Benedetta is a devoted nun that is beginning to see visions of Jesus, causing her to believe she is his chosen wife. Things are further complicated with the arrival of Bartolomea (Daphne Patakia), a young peasant woman who rashly joins the convent to escape her deeply abusive family. A relationship of friendship between the two quickly burgeons into something much more, and Benedetta is soon involved in both apocalyptic visions and a lesbian sex affair at the same time.

From the very start of the film it is positioned as not being an ordinary film about faith and catholicism. Class division between the wealthy and the poor is ever present in the convent and the city that surrounds it. Only wealthy families can afford the high prices of a dowry to submit their daughters to the convent. This becomes ever clearer with the arrival of Bartolomea, someone who does not belong to a wealthy family (Benedetta’s family pays for her entry), thus coming into conflict with the other nuns. Over time it becomes clear that a large theme of the film is that, while many of the people in the convent do genuinely believe in their faith, some are there to protect themselves from their chaotic and dangerous environments that exist outside of the walls.

Another key component is the theme of sexuality within the Catholic Church and, more specifically, the convent. Benedetta ends up tangled in a love affair with Bartolomea. She believes that, because she is chosen by God, he would not judge her for what choices she makes. This comes up in direct conflict with the members of the Church surrounding her; for some of the bishops can not even conceive the concept of a woman loving another woman. Contradictions between sexual freedom and religious beliefs is not an entirely new concept but Verhoeven handles it excellently. The relationship between the two characters is excellent and the film genuinely feels erotic and sensual, yet not exploitative, in a time where these films are few and far between.

Despite the old, mediaeval period setting, Verhoeven loses absolutely none of his ability to inject his films with a heavy dose of satire - turning them into genuinely hilarious experiences. While many parts of the film are taken seriously, it isn’t afraid to make subtle gestures of humour that mostly come from the fantastic script. At the core of the film, however, it is a melodrama. A melodrama that follows the lives of nuns in a convent. Friendship, deception and betrayal are all things that add to the growing tension between Benedetta and her fellow sisters, so much so that the tension often crescendos into these explosive, theatrical arguments that are incredibly fun to watch.

Of course, a script without good actors is nothing, and thankfully the performances in Benedetta are great. This includes some legendary character actors such as Lambert Wilson (going all out on the campy theatrics) and Charlotte Rampling (in a more subdued but still often hilarious role), who are great as always, plus Virginie Efira, who plays the role of the titular nun with an incredible magnetism. She handles her character arc of ever-growing religious power and the scandal of a romantic affair with ease. Apparently Verhoeven gave her very little guidance on the character and she created almost all of the depth of it herself, which definitely pays off as the character feels truly authentic.

Despite not being a film you should watch with a parental figure, anyone who enjoys Verhoeven’s previous works (most notably Showgirls or Basic Instinct) will definitely be engaged in the eccentric, campy maximalism. For people new to the Dutch iconoclast, this is the perfect place to start and is an absolute must see either way. 

Did you know? This is the second collaboration between Paul Verhoeven and Virginie Efira after Elle (2016).

Benedetta is showing at Broadway Cinema until Thursday 28 April