| IFC Films | Release Date: December 3, 2021 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
30
Mixed:
7
Negative:
1
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Critic Reviews
Far from being a steamy nun-sploitation thriller about women with bad habits – well, it's partly that, to be honest – Benedetta is a substantial, sophisticated, yet briskly paced and always highly entertaining drama, which balances quiet scenes of shrewd backroom politicking with lurid scenes of wild religious madness.
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With its haters-be-damned approach to all things carnal, Benedetta is intended to arouse, thereby satisfying the most basic definition of pornography, even if Verhoeven (who claims a certain scholarly interest in the subject as well) does surround the titillating bits with illuminating insights into Renaissance religious life.
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You can’t call a film as lurid and alive as Benedetta a closing statement, but there is something valedictory about the erotic religious drama, which finds time to explore questions of voyeurism, sadism, masochism, systems of power, perversion, repression, rebellion, storytelling, divinity, irony and belief. Oh, and sex — plenty and plenty of nun-on-nun sex.
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SlashfilmJul 13, 2021
This is a tonally rich, libidinously powerful, and psychologically complex tale told by a master filmmaker equally at ease with European art-film conventions and B-movie hijinks. It’s this exceptional balance between the profane and the profound that sets Benedetta apart, truly proving to be penetrating in its effect in more ways than one.
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The IndependentApr 20, 2022
Benedetta has its cake and eats it, with gratuitous nudity and violence offered up to the audience as a base feast for the eyes. Yet in this indulgence, Benedetta eschews simplistic moralising in favour of a complex vision of female sexuality that is as problematic as it is compelling.
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Benedetta is led by a wildly fun performance from Virginie Efira as a real-life 17th century lesbian nun. Equal parts funny, sensual and incendiary, it’s a committed work from director Paul Verhoeven — a master of tonal balance — even if its exploration of the war between body and spirit occasionally falls short.
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We may never know if Benedetta was sincere about her visions in the end, just as it’s impossible to judge how sincere Verhoeven is when he’s indulging in the erotic visions that have made him famous. The beauty of Benedetta is that it never provides a straightforward answer to all of our questions, making it mostly a matter of faith.
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PolygonDec 9, 2021
Provocative in every sense of the word, the movie is equally capable of drawing viewers in with its witty study of sexuality and faith, and turning them away with its unabashed titillation. In this film, as in many of Verhoeven’s previous works, those two opposing forces are very much the point.
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RogerEbert.comDec 3, 2021
There are times when Verhoeven is throwing so many ideas into his purposefully overcrowded screenplay that it starts to feel unfocused, like a dramatic version of the legendary "Aristocrats" joke. And yet there are also times when it feels like a culmination of his career, a film he was inevitably going to make in how it distills sexuality, corruption, broken systems, and provocation into one fascinating story.
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The Danish director of Total Recall, Basic Instinct, Showgirls and Starship Troopers has never been one for subtlety, but this queer thriller and anti-Catholic screed sets a new high in lowbrow revelry. It’s smart smut, a witty, louche provocation that never takes itself too seriously.
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In some ways, it encapsulates the director’s best and worst instincts. It might be his most personal film, a genuine effort to understand the connection between two of his key obsessions, spiritual faith and human impulse. It’s also hard to shake the feeling that the film wants to outrage us into a response, but its supposed transgressions often feel tired and pro forma.
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It’s the tone that’s off here, as it is throughout a film which seems to wink at what it perhaps wants us to see as irony – its soft porn tropes like bondage and flagellation, its over-saturated sci-fi view of a comet’s passing, its horror-influenced vision of the plague – while keeping both eyes firmly open.
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There is perhaps an intriguing movie here somewhere — “Who decides what is God’s will?” is one lingering question —but to find it you have to slice away all the bawdy and ultra-violent excesses that are clearly intended to push buttons, like a 5-year-old testing her parents’ patience. Yawn.
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