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Managing editor & film and television critic with a Bachelor's of Arts in English Literature with a Writing Minor from the University of Guam. Currently in graduate school completing a Master's in English Literature.
Sydney Sweeney has had a solid ten months of five film releases, including Tina Satter’s drama biopic Reality, Will Gluck’s romantic comedy Anyone But You, and S.J. Clarkson’s superhero flick Madame Web. The actor/producer now reunites with The Voyeurs filmmaker Michael Mohan for their next big hit in the horror genre. Similar to their prior collaboration, Immaculate pays its respects to the classics while also putting a spin on a narrative many people are familiar with. With this latter film, there appears to be a larger focus on one character rather than dividing that between two to four figures. In hindsight, that narrative decision might be for the best!
Immaculate is written by Andrew Lobel and directed by Mohan.
In this review, I will be discussing Michael Mohan’s Immaculate. As the title of this article suggests, there will be no spoilers.
Discussion
The timing has never been greater for Sydney Sweeney, especially with where she is in the industry. The whole production process to get this film made is a miracle in its own right, but Mohan and Lobel also deserve just as much credit for helping bring it to fruition. Immaculate is something of an achievement for psychological horror. It’s a version of Rosemary’s Baby (with possible hints of Suspiria and The Omen) for the modern audience. With that comes an austere environment from production designer Adam Reamer and sick, twisted cinematography from director of photography Elisha Christian.
Seriously, all the elements comprising this title would have met a grave fate if not for the collective efforts of its cast and crew. Viewers are taken through the beautiful Italian scenery as Sister Cecilia Jones (Sweeney) is driven out of the city, through the greenery past herds of sheep, and into the Catholic convent, where the film takes place for over ninety-five percent of the time. Reamer’s set pieces of the catacombs are uneasy areas to see, and it is a shame more time could not be spent down there.
The cinematographer captures both the wide shots and the close-up shots of the characters, such as the framing around Cecilia’s pupil as she looks up at Father Sal Tedeschi (Álvaro Morte), around her smile when she swears an oath to the Italian church, or around her lips as she kisses Cardinal Franco Merola’s (Giorgio Colangeli) ring. On the one hand, there is a sweet side to this story; however, as it progresses, the plot takes on a dark and bitter appearance. The protagonist is told things such as, “Suffering is love”, which is true to an extent. This wraps around themes of pain, self-destruction, and transformation—all components of love.
Execution
The certain imagery throughout Immaculate is intriguing. An object that is argued to have come from Jerusalem around the time of Jesus Christ’s crucifixion serves as a major symbol that represents love in the form of pain and transformation. The cross itself is sure to have become a hard-hitting icon. Its meaning being seared into the nuns could have been elaborated more to show how it affects them as a collective.
The color red has its appearance here and there. In one instance, Cecilia has a nightmare depicted in a red filter to showcase human sacrifice or murder. In another scene, she awakes in her bedroom bleeding through sheets. This juxtaposes well with red wine, often referred to by Catholics as “the Blood of Christ”. Blood is a huge indication of possible death that demonstrates a larger purpose than to horrify. In one scene, Christian’s camera follows Cecilia in a tracking shot as she confronts the face of death. In another scene, the camera captures an utterly horrid sequence of moments that can fill a room with silence. Ultimately, there is a fascinating literal and metaphorical sense of how blood is depicted.
Some of the jump scares are delivered well, even when they are to be expected. The different personalities that come in the forms of the various nuns and patriarchal figures at the convent are no laughing matter. One nun seems to have lost her marbles. Even worse is that her creepy expressions are lit up as Cecilia holds a candle to her face. She is perhaps one of the more intimidating characters seen in the film.
Not Enough of the Secondary Characters
There is not much Simona Tabasco as Sister Mary, due to a specific reason. Yet, in the scenes that she does appear, the narrative is propelled into a thrilling direction. It is clichéd, for sure, but it also has audiences wincing until the character fades out from earshot. The actor does a fine job with the screenplay directions she is given. Although, I would have loved to see a few more minutes dedicated to her character to truly get a feel for what is to come.
Sister Guendalina “Gwen” (Benedetta Porcaroli) and Sister Isabelle (Giulia Heathfield Di Renzi) are both beautiful women in the convent who have a ticklish sense of humor. Whether it’s one woman who refuses to translate a long block of dialogue or another’s banter about having bangs on convent grounds, the little things count despite their minimal time on screen. It would be nice to see either or both have more to offer to the main conflict. I have to believe in a version of the film where they stick around longer somehow. These two actors are just that enjoyable to see.
The Crew Behind Immaculate
Elisha Christian serves as the director of photography for the film.
Christian Masini is the editor of the film. Will Bates is the composer of the musical score.
Willa Yudell and Mike Itzigsohn are the music supervisors. Jason Tregoe Newman (AMC’s Preacher, Ozark, Euphoria, The Voyeurs, Yellowjackets) and Andrew Ransom (Prime Video’s Hunters, Ozark, Euphoria, The Voyeurs, Hulu’s Hellraiser, Yellowjackets) serve as the music editors. Bryant J. Fuhrmann (Preacher, Ozark, Euphoria, The Voyeurs, Hunters) is the additional music editor.
Bryan Parker is the supervising sound editor. Pernell L. Salinas is the assistant sound editor. Joshua Adeniji is the sound effects editor.
Francesco Vedovati (FX’s Fargo, The White Lotus Season 2, The Equalizer 3) and Barbara Giordani (FX’s Fargo, The White Lotus Season 2, The Equalizer 3) serve as the casting directors. Daniela Merlo is the dialogue coach.
Alessandro Novelli serves as the stunt coordinator.
Aesthetics
Adam Reamer serves as the film’s production designer.
Francesco Scandale is the art director. Anthony Steven Visciglia is the art director’s assistant.
Francesca Maria Brunori serves as the costume designer.
Federica Emidi (The White Lotus Season 2) serves as the makeup and special effects makeup department head. Francesca Antonetti (The White Lotus Season 2) and Chiara Fulli are the makeup artists. Paolo Galiano is the SPFX supervisor.
Luca Vannella serves as the hair department head for the film. Peter Nicastro and Elena Fabbiani are the hairstylists.
Victor Perez is the Italy visual effects supervisor.
Matt Akey (Maleficent, The Night House, Army of the Dead, Stranger Things Season 4, Violent Night, Renfield) serves as the executive VFX producer. John Brubaker is the VFX supervisor. Christian Oshesky and Stephen Cheatum are the VFX editors.
The Cast of Immaculate
Sydney Sweeney (Euphoria, Once Upon a Time in Hollywood, Nocturne, The White Lotus) portrays Immaculate‘s protagonist, Sister Cecilia Jones.
Álvaro Morte portrays Father Sal Tedeschi.
Simona Tabasco (The White Lotus Season 2) portrays Sister Mary. Benedetta Porcaroli portrays Sister Guendalina “Gwen”.
Giorgio Colangeli plays Cardinal Franco Merola. Dora Romano portrays Mother Superior.
Giulia Heathfield Di Renzi plays Sister Isabelle.
Giampiero Judica plays Doctor Gallo. Betti Pedrazzi plays Sister Francesca.
Giuseppe Lo Piccolo plays Deacon Enzo. Cristina Chinaglia plays Sister Friede.
Cinzia Fantauzzi plays a red-veiled nun.
A Pristine Performance from Sweeney
Sydney Sweeney’s performance as Cecilia Jones is one for the books. For viewers familiar with her work on HBO’s Euphoria, particularly its premiere season, Immaculate will not be the actor’s first role as a character with pro-choice decisions. The twinkles in her eye that the cinematographer captures, as Cecilia talks about a time during her childhood when she dealt with an icy lake, betrays purity. Yet, the character proves time and time again that she is a victim of the system of religion set around her.
The actor’s screen time in the final half-hour (perhaps less) is the finest I have seen in her filmography thus far. Her repetition of the word “wait” is haunting, and more so as the word comes out in painful screams and cries. More to this point, Christian captures Sweeney’s expressions like the gritting of her teeth as blood… Well, it is a moment too unsettling to describe after a first viewing. However, this tells the audience everything they need to know about Sweeney’s commitment to her role as an actor and a producer of the film.
Final Thoughts on Immaculate
Immaculate is remarkable work for a psychological horror and religious horror film from the mind of Mohan and Sweeney. It’s visually compelling, mainly due to the special effects; Will Bates’s musical scoring can be breath-taking at times; and its lead actor makes the protagonist role her own. Still, I cannot help the feeling that one hour and twenty-nine minutes does not do it justice. There is more story to explore within the plot’s nine-month period. Writing off its supporting characters a little too early means cutting off what may be pivotal portions of the narrative. Regardless, this is one horror title this year that cannot be missed, especially in how Mohan and Sweeney top what they did with The Voyeurs!
Michael Mohan’s Immaculate is now playing in theaters!
4/5 stars
Have you caught the film in theaters yet? If so, then what are your thoughts on it so far? Let us know! For more horror-related news and reviews, follow The Cinema Spot on Facebook, Twitter, and Instagram!
Managing editor & film and television critic with a Bachelor's of Arts in English Literature with a Writing Minor from the University of Guam. Currently in graduate school completing a Master's in English Literature.
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