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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The Free Cinema Shorts of Lindsay Anderson
The 1960s might be seen as the decade that ushered in a significant number of game changing film movements such as the Czech New Wave, Cinema Verite and New German Cinema but the 1950s shouldn’t be overlooked for inspiring the birth of the Nouvelle Vague in France and the self-reflective ‘kitchen sink’ realism trend in England. One of the most influential but short lived film developments during this period was the Free Cinema movement, which flourished between 1956 and 1959 in the U.K.. It rejected the conservativism and class bound traditions of commercial filmmaking as well as the didactic approach to documentaries made famous by Scottish director John Griegson (Song of Ceylon [1934], Night Mail [1936]]. Instead, Free Cinema was dedicated to making personal films that expressed the opinion and artistic vision of their directors despite limited budgets and semi-amateur conditions (most of the movies were shot with a 16mm Bolex camera). Karel Reisz, Alain Tanner, Claude Goretta, Tony Richardson and Lindsay Anderson were among the leaders of the Free Cinema group but Anderson, in particular, created some of the movement’s most significant work, including Wakefield Express (1952), O Dreamland (1953), Thursday’s Children (1955) and Every Day Except Christmas (1957). Continue reading

