A Whole Lot of Nunsense

The Spanish film poster for DARK HABITS (1983), directed by Pedro Almodovar.

Do you have a favorite nun movie? It seems that the most popular and commercially successful of the lot are either serious dramas like The Nun’s Story (1959) or comedy/musicals such as The Sound of Music (1965) and Sister Act (1992). There is also the more polarizing subgenre known as nunsploitation which caters to grindhouse audiences with abundant scenes of sex and violence (Jess Franco’s Love Letters of a Portuguese Nun [1977], Killer Nun [1079]) but can also embrace art house fare like Ken Russell’s The Devils (1971) and Walerian Borowczyk’s Behind Convent Walls (1978). Entre Tinieblas (English title: Dark Habits, 1983), directed by Pedro Almodovar, doesn’t fit easily into any of the above categories but, like any nunsploitation flick, it is likely to offend conservative and religious viewers. Still, Almodovar’s film is much closer to a Hollywood soap opera crossed with screwball comedy but its subversive and controversial nature isn’t the result of explicit sex or violence but its wicked satire of Catholicism and those who practice it. In this case, it’s a quintet of nuns who call themselves the Community of Humble Redeemers.

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There’s No Place Like Home

Spanish director Eugenio Martin is not a name familiar to the average American moviegoer but for fans of European genre films, he has developed a cult following over the years, thanks to the release on DVD and Blu-ray of some of his better known titles. Among these are the fast-paced, enormously entertaining sci-fi/horror/train disaster hybrid Horror Express (1970) with Christopher Lee, Peter Cushing and Telly Savalas, the giallo The Fourth Victim (1971) starring Carroll Baker, and A Candle for the Devil aka It Happened at Nightmare Inn (1973) in which two religious fanatic sisters are behind a series of murders. Martin also helmed several entrees in the Spaghetti Western genre such as The Ugly Ones (1966), Requiem for a Gringo (1968) and Bad Man’s River (1971) featuring Lee Van Cleef, James Mason and Gina Lollobrigida but some of his efforts defy easy categorization like Aquella Casa en las Afueras (English title: The House on the Outskirts, 1980), which is like a woman-in-peril melodrama crossed with an “old dark house” thriller. Throw in some unspoken but implied social commentary on women’s birthrights and you have a rather unique film from post-Franco Spain.

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