Cannes Review: Paul Verhoeven’s ‘Benedetta’

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Ever the bad boy even into his 80s, director Paul Verhoeven stirs the pot and turns the heat up to the boiling point in Benedetta, a medieval brew of religious fervor, illicit lesbian sex in a conv…

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premiere by a year due to the 2020 edition’s cancellation, the film, like all the director’s work, is wild, intelligent, pulsating, provocative and vibrantly alive. Cecil B. DeMille would be outraged, while Ken Russell would be wildly jealous.

Set in Tuscany in the late 1600s , the film at once establishes that this is not going to be a straightlaced, reverent look at convent life. The nunnery is overseen by the aging Abbess Felicita and it’s an estimable, exclusive establishment that only admits three new postulants per year. Take that, Smith and Barnard.

One young woman who will clearly have problems with this attitude is Sister Benedetta , whose curiosity and overall bright disposition seems at odds with her position at the nunnery, even if her faith is unquestioned. The basics of convent life are amply portrayed in instructive fashion, including various details about which you might have been curious but afraid to seem impertinent. Verhoeven has anticipated your interest.

To be clear, there’s sex, and plenty of it. Some of it may go over the top—or under the bottom — and there are bits that will no doubt appear over the line and perhaps exploitative. Nudity abounds, but then it wouldn’t be a Verhoeven film without it. At the same time, however, the director has inhabited this uninhibited realm for a long time and well knows how to mix the serious and provocative with humor and self-conscious outrageousness.

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