Kattiera Nana I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Karry Best movie of this year hands down!

Pluskylang Great Film overall

Acensbart Excellent but underrated film

kosmasp Let's get the obvious out in the open right away: She'll have nun of that. Never gets old, though if we're talking old nun, she does get old. Also doesn't want the other nuns to have fun. Well she won't become Cyndi Lauper anytime soon then. But the nuns are resourceful and find "wood" in the strangest places ... both literally and metaphorically speaking if you know what I mean.If you don't let me tell you that this is sleaze at its finest (if that's your cup of tea of course). Still it does drag and it feels very episodic with all the nuns and their different ways to "heaven" (or climax that is). If I make this sound better than the actual experience of you watching this will be, don't blame me. I had to write something and describing penetration scenes or torture (physical or other kind) isn't the way I wanted to go. Suffice to say, this is not for any church goers .. well not the "right" ones

Frank Damage While it's essentially a given misconception that many cinephiles drawn to specific and sub genres of horror and exploitation films (especially those made in the early days of the respective genre; ie. the '70s) must frequently trade quality in order to satiate their "sordid desires," I've seen enough films in the nunsploitation category to say with a definite certainty that "this is not true....in MOST cases." However in this particular instance the aforementioned cliché could be considered fact. "Behind Convent Walls" (as it is known in English speaking countries) is one of the biggest waste of film-stock I've ever seen.The movie is almost entirely devoid of: 1) a plot of any kind, 2) decent acting, 3) an intelligible script, or cohesive a storyline 4) as well as capable directing. Not to mention, the editing seems to have been done by a mindless lummox with his eyelids sewn shut, who was randomly swinging a meat cleaver in order to make many of the cuts.Now while some might be praying my initial statement bears some relevancy here, I can assure you that not even "the hand of God" could mask the lack of any negotiable "balance" or exchange, as it were. There is a single graphic scene that could be considered a blessing of redemption, but the remainder is little more than a few glimpses of breasts peppered (quite infrequently I might add) throughout the mainstay of this tediously boring abomination.If self-flagellation is what you're into, then sitting through this damnation might be what you're looking for. Though I wouldn't count on either Jesus, or the Devil giving you any "brownie" points for watching it. They'd probably BOTH condemn you for your (poor, lack of) taste, after such a confession.

Falconeer A stern Mother Superior tries to maintain order in the convent, and to protect the nuns from evil temptation in this beautifully wrought 'nunsploitation' film from cult director Walerian Borowczyk. While the plot here is standard fare, it is the breathtaking imagery that takes center stage, and makes this film so special. One of the most 'fluid' films I have ever seen, the characters and the images are constantly moving, an effect helped to some degree by the hand-held camera technique. White is the predominant color here, as sunlight streams through the windows of the convent, illuminating the naturally beautiful nuns as they go about their days, gathering roses, preparing food, masturbating and copulating (!). All this while the mother superior races around, spying and searching the bed chambers of the nuns, forever looking for evidence of sin. Religious imagery abounds, in the form of bleeding stigmata and a dildo with the face of Jesus etched onto it. Light and comical at times, but turning considerably darker towards the films climax. The cinematographer also worked on Argento's 'Suspiria', which explains this films gorgeous look. It would certainly be a shame and do great injustice to Borowczyk's beautiful film to place it in the same category as the 'nusploit' dreck of Joe D'Amato and some of the others, as 'Interno di un Convento' is on another level entirely. This is my favorite film from Borowczyk next to his "La Marge" with Sylvia Kristel and Joe Dallesandro. And of the 'nunsploit genre, 'Behind Convent Walls' is one of the absolute finest examples, along with "The Nuns of Verona", "Sacrilege", and the dazzling Japanese "Convent of the Holy Beast". I have yet to see Jess Franco's "Love Letters of A Portuguese Nun", but I heard this is quite good as well. For Behind Convent Walls' there is a great new DVD featuring a beautiful widescreen transfer, and including extra information on Borowczyk's work.

netwallah This movie isn't sure where it belongs. In part it is a well-realized historical period picture based on a novel by Stendahl. The photography is very fine, as are the settings and costumes.Then it's also a movie that exists for the many opportunities to show nuns and novices without clothing, often involved in some sort of sexual activity. A somewhat trite them runs through this level, something about the unnatural state of confinement and the irresistible need for pleasure that nuns must feel. So we see kissing and fondling and masturbation with a hand-carved dildo and several tasteful scenes of copulation with men. The corollary theme is that sexual deprivation in women produces either a grimly authoritarian repression—the abbess (Gabriela Giacobbe) who carries a cane with a concealed sword she uses to find contraband in the bedding—or madness, as in the case of the nun who is convinced Jesus has taken her to bed and whose rose-thorn wounds she represents as stigmata. Or in the case of one of the main characters, Sister Clara (Ligia Branice), who begins the story as a truly devout nun, but in the last twenty minutes she seeks out the handsome artist Rodrigo (Howard Ross) and has ecstatic sex in the convent courtyard, crying out phrases that mirror the devotional language she's used earlier as a mystical bride of Christ. Then, inexplicably, she is mad, exposing herself with defiant, mocking, leering words and laughter to the priest, and then she is dead of the same poison that killed the abbess, as is the other nun, Sister Martina (Loredano Martínez), who'd been having sex with the virile male helper Silva (Alessandro Partexano) and who gave the abbess the poison she thought was just opium useful for mellowing her out a little, and opened the door for her lover as well. The cardinal, Clara's uncle, arrives and prays for assistance in ensuring that no word of this business will go beyond the convent walls, and he flashes a wicked grin. The nun earlier shown in late pregnancy smiles a different smile as she nurses her newborn baby; it is typical of the contradictions of this movie that the abbess, so firmly opposed to all forms of carnality, is kind to the pregnant nun.The third element derives from making the film a vehicle for Ligia Branice, who happened to be married to the director. She has a striking, tapered face, with wide-set eyes and a generous mouth. Somehow she manages to acquire more and more exaggeratedly sexy make-up as the movie progresses. Her range as an actor is limited, however. She does fine as a quiet, devout nun, but as a lover and a madwoman she grimaces and chews the scenery, as they say, looking a little like a slim female impersonator trying to mimic Sophia Loren at fever pitch. She's much better than she is in Blanche, but she's still the weakest part of the film.