Xixax Film Forum

(https://pbs.twimg.com/media/EOMWv81WkAARQGz?format=jpg&name=medium)

A 17th-century nun in Italy suffers from disturbing religious and erotic visions. She is assisted by a companion, and the relationship between the two women develops into a romantic love affair.

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QuoteThe film, then titled Blessed Virgin, marked the producer and the director's second collaboration after Elle. Gerard Soeteman, who has worked with Verhoeven on eight previous films including Turkish Delight (1973), The Fourth Man (1983) and Black Book (2006), replaced Carrière to adapt the non-fiction book Immodest Acts: The Life of a Lesbian Nun in Renaissance Italy which was published in 1986 and written by historian Judith C. Brown. Soeteman ultimately distanced himself from the project and had his name removed from the credits as he felt too much of the story was focused on sexuality. On 25 March 2018, Saïd Ben Saïd announced that Verhoeven had co-written the final draft with David Birke, who previously wrote Elle.

omg yes. this is clearly part of his destiny

https://twitter.com/intothecrevasse/status/1389944233088401415

that's such a funny meme of course. kind of wasted in this context, since all the reactions about expecting both are true to Verhoeven's form. the candy is beneath the cast! he wrote a book about Jesus and I went to hear him speak about it. (http://innergenre.blogspot.com/2010/04/paul-verhoeven-discussing-jesus-of.html) he called Jesus a talented exorcist

https://twitter.com/TheMaryLambert/status/1390062696553320450

she directed both pre-remake Pet Sematary movies. both of them

as for the Verhoeven-joke thing, I suppose worrying about a misperception of this movie is worrying about someone who's never seen a single Verhoeven movie. it's worrying if the children will know what to do with themselves. oh brother. you're the wrong crowd to say it to but Phantom Thread is a Verhoeven-lite movie

And Halloweentown II!
And she was mine and StrandedWriter's professor sophomore year at NYU ~ hehe <3

nice!

https://twitter.com/Screendaily/status/1397190012232470531

QuoteLondon-based streaming platform and distributor Mubi has secured all UK-Ireland rights to Paul Verhoeven's period drama Benedetta, which is set to premiere in Competition at the upcoming Cannes Film Festival in July.

The deal was struck with Pathé International, which is handling world sales, and Mubi plans to release the film theatrically. The film will receive its world premiere at Cannes on July 9 and release in French cinemas on the same day.

Inspired by true events, Benedetta is set in the late 17th century and stars Virginie Efira as a novice nun who joins a convent in Pescia, Tuscany. Capable of performing miracles from an early age, Benedetta's impact on the community is immediate. But she sets down a dangerous path after her affair with a fellow nun is discovered.

Inspired by the book Immodest Acts, written by historian Judith C. Brown, the cast also includes Charlotte Rampling, Daphné Patakia, Lambert Wilson and Olivier Rabourdin.

It marks Verhoeven's follow up to Elle, which also screended in competition at Cannes in 2016 and was nominated for an Oscar. The Dutch filmmaker reunited with Elle co-writer David Birke for the script of Benedetta.

It is produced by Said Ben Said at Paris-based SBS Production, Michel Merkt and Pathé Films.

Mubi's upcoming slate of theatrical releases that will then screen on the Mubi platform includes Ben Sharrock's Limbo, Michel Franco's New Order, Ninja Thyberg's Pleasure, Céline Sciamma's Petite Maman and Kelly Reichardt's First Cow.

...

Hey, Tom of Finland, how about you keep all that flesh to yourself pal

https://www.youtube.com/watch?v=5xL-ORoT2j0

Twitter scolds are increasingly channeling puritanism, and I don't think they even realize it, although I guess the convergence was inevitable. Lots of stuff going around that's shockingly reminiscent of the concerns about explicit albums in the 90s.

This was some of the most fun I've had at the movies all year! There was an older lady sitting next to me laughing her ass off throughout. I liked her.

Strangely, this turned out to be both more serious and more funny than I expected. Teeters into farce at times but also deeply cares about its central questions.

Also, it's not that outrageous and doesn't really court controversy imo.

(The Charles Bramesco tweet is correct. And the Maggie Levin tweet is just embarrassing.)

I'm not quite sure I love it; the filmmaking craft is a bit uneven. Lots of missed opportunities for scenes to pack a deeper punch, I think.