Immaculate

Nunsploitation with a real budget, and the last shot is a single unbroken take that is the reason to watch.

An American novice takes vows at a remote Italian convent that cares for dying nuns. She is pregnant. She has never been with anybody.

Michael Mohan shoots it as a straight gothic: candlelit corridors, a red-cloaked procession, catacombs, and a convent that will not let her leave.

Sydney Sweeney had auditioned for a version of this film at 16, and produced this one herself to get it made.

The middle sags and the theology is thinner than The First Omen, which covers similar ground better and came out weeks later.

The final sequence, several minutes on Sweeney's face in one take, doing something the film has been withholding, is truly extraordinary and elevates everything before it.