When Director Michael Mohan was asked to collaborate with rising star Sydney Sweeney to make a horror film, he wanted to ensure that it not only suited Sweeney’s status but also to make a movie that was ‘genuinely terrifying”. It’s clear as the story unfolds that Mohan is inspired by other high profile psychological, religious horrors by significant auteurs of the field such as Friedkin, Kubrick and Polanski. The latter of which is abundantly clear with whispers of Rosemary’s Baby trickling throughout, but instead of a New York apartment, we’re presented with a remote convent with an Italian countryside backdrop to lay the scene.

When Cecilia (Sweeney), a devout nun and the picture of purity is invited to join the convent, which also serves as a hospital for elderly Sisters, following the collapse of her own religious community, she believes this is a calling from on high. Upon arrival it soon reveals that this is not the sanctuary that first appeared, and a growing malevolence slowly draws forth and her meek and withdrawn demeanour begins to unravel.

The Prognosis:

Mohan steps through the horror genre door with bold proclamations and high hopes. It serves him well to aim high as he certainly delivers a thought provoking and in some places shocking narrative from Andrew Lobel’s screenplay. 

This is a film that has three very clear acts and while the first act could have added some more depth to the character and to set the scene, the slow distribution serves as a strength to what Mohan has in store. The second act shifts through the tumultuous gears that allows Sweeney to explore Ceclia’s character and valour, whilst exposing the patriarchal hold the convent holds over her, before the cord is ripped in the final act in a crescendo of cataclysmic proportions.

• Saul Muerte

Immaculate is currently screening in cinemas nationwide.