Review of 'The Nun' (2018)

    The nun is an enjoyment and a relief. It is if you come across it by chance. And it is, above all, if you like horror movies and your view of it is neither selective nor snobbish. East spinoff of the franchise opened with File Waren: The Conjuring (2013), dedicated to the nun who escaped from the canvas in one of the best scenes of the magnificent Warren File: The Enfield Affair (2016; second part of the saga), is an enjoyment in different ways. It is as a witch’s train, as a combination of references little remembered by contemporary horror cinema and as a beautiful visual nightmare (at times strangely abstract).

    The script of the nun It’s simple, the scares are classic and the resources to frighten (especially the use of sound effects) are conventional. But it is not a matter of routine or laziness. Corin Hardy (The Hallow) reveals himself confident with his horror toy, he does not have the inferiority complex of directors who believe that they must take terror to a more illustrious dimension to stand out. He does not seek originality, but efficiency. Y the nun it is efficient and, however honest and unapologetic, accidentally sophisticated.

    It functions as a macabre fairground attraction, with its terrors behind the door, its disturbing iconography (the use of religious iconography is extraordinary), its screams in the ear –and the frozen air on the back of the neck– and its unexpected appearances by chilling characters. . The same does not fit the aesthetic pattern and the thematic currents of contemporary commercial terror (although there is some confusion there, because that pattern is much more flexible than in other times), but its machinery works so well that it neither expels the uninitiated nor demands too much complicity. The same goes for its referential nature. In the nun are, among other things, the Hammer (the sets, which are wonderful, the use of light), the nunsploitationthe exploit Italian horror films of the 70s, the films of Lucio Fulci, the fantasyterror Spanish… But, as strange as it may seem, the result is not an exercise in stale and/or exclusionary nostalgia.

    And it is so because everything else works, and because those references merge with the story, they are not occasional complicit winks. Before, I alluded to its condition as a beautiful visual nightmare, another of the things that distinguishes the nun. Hardy orchestrates the horror with poise and very good taste, reaching in some scenes an unexpected sophistication in the staging, the choreography of the elements in shot and the montage of the nightmare. A style (which at times shyly borders on the experiment) that sporadically brings him closer to the immense James Wan, father of the saga (here he acts as the architect of the story –with Gary Dauberman–, producer and director of the second unit) and promoter of a one of the most exciting franchises in contemporary cinema.

    The best: it has its own identity and, at the same time, dialogues with the saga.

    The worst: confusing its simplicity with routine.

    Address: Corin Hardy Distribution: Taissa Farmiga, Bonnie Aarons, Charlotte Hope, Demian Bichir Original title: The Nun Country: USA Year: 2018 Release date: 07-09-2018 Gender: Terror Screenplay: Gary Daubermann Duration: 96 min.

    Synopsis: After the death of a young nun in a Romanian convent, the Vatican sends a nun about to take her vows and a priest who is an expert in possessions to investigate. A terrible confrontation between the world of the living and the world of the dead will take place with her arrival at the convent.

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