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When this ‘fallen woman’ seeks refuge in the Sisters of Divinity convent, she becomes trapped once more by a venal Mother Superior (Carolyn Hennesy), and must emancipate herself from societal repression and institutional exploitation. However, they still count as it violates both their vows to be celibate and is doubly forbidden as they're a same-sex couple. Invoked in The Traitor Son Cycle, when the company learns that their next job is protecting a convent of young, pretty nuns. The movie is aware of the Church’s connection to power, and the male Church hierarchy arrives right on time to lay down the law. whose sect of Buddhism focuses on gaining enlightenment through sexual pleasure and has Mad Love for the rest of humanity.
Australian skit comedy show Skithouse had a scene with a group of people waiting for the bus, among them a Catholic nun.Leliana from Dragon Age: Origins is a lay sister who's bisexual and a former Femme Fatale Spy, and admits to sometimes ogling her fellow Sisters. When the head priestess catches them in the act, Geralt tries to shift the blame on himself, only for the abbess to inform him that the sisters are explicitly not forbidden from indulging in carnal pleasures.
Instead it’s a lean story about repression — Kawalerowicz considered it a film against dogma and a thwarted love story — and the evil it can drive people to do. As Catherine, Nastassja Kinski is creepy when she wants to be, albeit uncomfortably young for the role. Miraculously, Reece’s film pulls from its own generic, gonzo beginnings a profound, ongoing discourse on faith, loss and despair, finding plenty of thematic meat to nourish what one character terms our ‘spiritual hunger’.They want movies like Convent of Sinners: a breathy series of erotic poses with an exorcism at the end. As he had been within the church hierarchy for decades, he felt he had lost touch with the common poor, so he changed into street clothes and wandered into the French Quarter.
A breeze is always lifting the corners of the sisters’ veils, a seemingly harmless undercurrent that, like all the undercurrents in this movie, is anything but. Kawalerowicz lets the camera hover at eye level, pulling the audience into conspiratorial conversations and staring down at a prostrated Suryn framed so as to resemble an inverted cross.
In other words, it’s not the “primitive” peoples in the valley below coming undone in the absence of smog.
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