Sydney Sweeney’s presence in any film is hard to ignore. With her distinctive millennial drawl and unmistakable presence, she often brings a piece of herself into the characters she portrays. Whether being real life whistle-blower in the impressive Reality, to playing Glen Powell’s love interest in Anyone But You, Sweeney is fast becoming the Julia Roberts of her era, which is why it is so exciting to see her taking risks with her ever growing career with the excellent new horror, Immaculate.
In the film, Sweeney stars as Sister Cecilia, a virginal young nun mysteriously impregnated and imprisoned by a fanatical convent convinced she carries the second coming of Christ. Directed by Michael Mohan, this film takes audiences on a wild ride through themes of religious oppression, superstition and feminine autonomy,
From the outset, it’s clear that Sweeney’s star power adds a layer of complexity to the character of Sister Cecilia. It is, after all, a film she has been attempting to get made for the best part of a decade.
In a cinematic landscape where women’s bodies are often objectified and their autonomy challenged, Sweeney’s portrayal takes on added significance. Her previous roles, notably in have already sparked discussions around female objectification in the entertainment industry. Here, her performance transcends the screen, offering a commentary on bodily autonomy and the societal pressures placed on women.
The film’s plot, while not entirely ground-breaking, is executed with blunt effectiveness and impressive self self-assuredness by Mohan. While some elements may feel familiar, such as the concept of a miraculous pregnancy, the movie’s exploration of the Church’s treatment of women adds depth to the narrative. Cecilia’s journey from venerated saint to disposable pawn highlights the film’s critique of institutionalised religion and its attitudes towards female purity.
Where the film truly shines is in its willingness to embrace the absurd and the camp, even if it is, at times, almost too desperate for cult status with its overly stylised Giallo-esque aesthetics.
Sweeney’s performance as the heavily pregnant and spiritually conflicted Cecilia is nothing short of captivating. Her portrayal captures the character’s desperation and determination as she fights against the forces that seek to control her. It is no exaggeration to say that she singlehandedly carries the film from beginning to end.
This is Sweeney’s ballsiest move yet and a must-watch for fans of intelligent horror. With its blend of campy thrills and social commentary, it proves to be a standout addition to the genre, anchored by Sydney Sweeney’s simply divine performance.
