The Big Picture If you’ve seen Immaculate, the new horror film starring Sydney Sweeney as a young nun named Cecilia who finds herself trapped in a covenant in Italy where her womb has been implanted with what the church believes to be the reincarnation of Jesus Christ against her will, you know that writer-director Michael Mohan has crafted one hell of an ending.
MOHAN: I mean, it was a messy process because we had no time and we were trying to do it in real-time all while reacting to the limitations of our time, our schedule, and our budget. There were moments where we actually brought Andrew out to Rome just for a little bit so he could be boots on the ground and see what we were seeing. He could also see how the production design was shaping together. It was hectic, but eventually we got there. Even then, it continued to evolve as we were shooting.
How Did Mohan Navigate Perspective and Agency in 'Immaculate?' Close The point midway through where she uses the chicken as fake blood, it creates the great scene visually in the field, but it also ensures she's not without agency in this story. I was curious about the conversations that you all were having about that.
With what you were saying about just this moment of emotion, I think more movies need stuff like that. That's the stuff that's cinema, that's visual storytelling. I think what you're alluding to is that there are moments, especially in horror, where the things you don't see and what your mind creates can be just as impactful. Instead, we get to see her and it's filtered through her emotions and her performance.
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