. But writer-director Garai strays from the sisterhood by choosing a male protagonist, putting him through a hell cracked open by his own gnawing guilt and ignited by some fatal encounters.
In scenes gradually revealed to be flashbacks, Tomaz is a soldier in the final days of what looks to be a Central European conflict, assigned to man a quiet checkpoint in a pine forest, two days' walk from the nearest village. The connections of his mother have spared him from combat.
Sometime later, Tomaz is in London with PTSD, living in a refugee shelter and working as a day laborer until his housing is destroyed in an arson attack. He's found, dazed and confused, by Sister Claire , a kindly nun whose habits are revealed to be more and more secular each time we meet her. This will surprise no one, since you don't cast the wickedly amusing Staunton to say rosaries.
Tomaz's apprehension suggests he knows that a wailing crone in an attic is rarely a good sign, particularly once he catches a glimpse of the feral old woman's violent abuse of Magda. But he stays on and keeps getting drawn back each time things get ugly enough to send him running; Secareanu plays those conflicting impulses with haunted helplessness.
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