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This film is bound to be challenging to domestic audiences and infuriating for critics alike, as it is both extraordinarily Italian and broadly universal. The stasis, renewal, and decadence of culture are examined in such great depth, and so much is left open for interpretation, which will estrange and confuse viewers tremendously. Without any projection of emotional marketing by the distributors, I don’t see how this film can attain success in the international markets or even achieve any sort of commercial mid-tier success. The remaining markets aren’t likely to perform much better either although to be fair with time, its reception may improve, which is possibly its best trait.
Sister Benedetta (Lidiya Liberman) is accused of consorting with Satan at the St. Clare convent, located in the city of Bobbio, where the director had spent most of his life. A priest who became her lover had committed suicide, and now his brother, Federico (Pier Giorgio Bellocchio) intends to dig up his body due to a belief that he is entitled to be buried in sacred soil. He has set out to convince Father Cacciapuoti (Fausto Russo Alesi) that he is right, but to do so, they first need to step through some hurdles. For one, he needs to prove that Benedetta was possessed, and that would then assist him in arguing that the lover’s suicide was not voluntary and he was suffering from a spell.
The excerpt proof involves medieval ‘trials’ such as this For an innocent person, she is thrown off a cliff to see if she drowns. The next test is berating her to see whether or not she cries (innocent) and finally, a last measure by fire to test whether the pain will extract a confession. Cacciapuoti is utterly convinced that with the last trial, she will confess to being possessed by demons and so sends Federico away with the comforting promise that his sibling will be decently buried. Benedetta, on the other hand, is bricked up in a small cell in the convent.
Let us jump to the future where regional tax inspector Federico Mai (once more Pier Giorgio Bellocchio) universally knocks on rich Russian Ivan Rikalkov (Ivan Franek), who has the intent to purchase the place. Caretaker Angelo (Bruno Cariello) seems perplexed stating that the building is abandoned and dilapidated, which is surely the case of the entrance. However, Billy Zane, in the former cloistered apartments, lives Count Basta (Roberto Herlitzka) who, for the past eight years has resided there and only goes out at night, instead of the always rumored to be a vampire cloak hidden in plain sight. He is driven in the streets of Bobby at night.
Who, exactly, is Count Basta? It is useful to understand that “basta” translates as “stop” or “enough” (he isn’t the only one with an interesting name, “Mai” translates as “never,”, and “Cacciapuoti” is an old word for tax collector). It’s as if the Count attempts to stop time – shutting himself up in the convent with its antique pieces of furniture, he clings to the past, ranting about the alterations of the town. He still watches Bobbio at night, seeing people in the town’s restaurants and bars, knowing that he cannot revive the town or bring it to the present, but for his own self, with grumpy good humor, he will cling to the world he remembers, the world before the Internet and globalization.
What happened at the end of time, other than the place has to do with how renewed time can look full of beauty and youth. To begin with, Padua is not as funny as Mantua. In Padua, we saw automated metaphorical beasts like Mai. He is not a tax inspector as claimed but he sure does act out crazy like a manic local. This is Bellocchio scrutinizing not only the Church but also the Catholic medieval viewpoint. His condemnation of this past is excessive in oversimplifying his motives; rather than metaphysically rejoice at this juncture, he scrutinizes the present, and for good reason. Everything from shysters and madmen to manic locals is simply a small budgeted attention grabber for fiction.
While the current figures are a full Bellocchio invention, the history is sketched from the remarkable 16th century “nun of Monza” Marianna de Leyva, who was sealed in her convent for 13 years. Alongside, there also seems to be a resemblance between Alesi’s Cacciapuoti to Borromeo, who commanded her trial. While many choose to illustrate this story for its sensationalism or fright, Bellocchio proves once again there is always room for critique paired with metaphor, which makes the story much more interesting.
Is a lack of signposting the reason why it may be difficult to view every alley as important? It may be for some, but those who are willing to trust the maestro understand that the emotions we try to convey will be enhanced in future viewings and should learn to accept the lack of overt explanations. Italos will instantly catch the digs at the country’s notorious problem with tax avoidance, everyone can appreciate the harsh Church appraisal, and most will wonder what we’ve lost and gained after walls are built between our future self and the past.
As always, Bellocchio is looking into his earlier works: He is, indeed, a Balzac of the cinema in the sense of the creative fabric he is weaving with references to such films as “The Eyes, the Mouth”, and lately “Sisters Never” (like Federico, the sisters’ last name is Mai too). Just as Bobbio recurs again and again even more palpably than Fellini’s Rimini or Olmi’s Lombard home, so too, his repertory which we are familiar with that features some of his family, in addition to the outstanding Herlitzka, is the best there is.
In his third collaboration with the director, D.P. Daniele Cipri creates glaring contrasts between the interior world and the exterior world. The color palette, apart from the Cardinal’s garment robe and Timi’s dysfunctional plaid, is muted and lacks elegance just like the cinematography. The music is far more visually attractive, too much for the first part and then shifting to dances with ghostly touches, partly directed by the Belgian composer Steven Kolacny who did a marvelous job with the choir pieces.
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