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Flavia, the Heretic

Review by Casey Scott

Gianfranco Mingozzi's FLAVIA THE HERETIC has been a much sought-after title amongst fans of the sleazy nunsploitation subgenre and of stone-faced Florinda Bolkan, one of the most underrated actresses of European cinema.

Available previously through Redemption in the UK, offering a VHS tape snipped of much of the surprising violence, Synapse Films has rescued the film from obscurity, presenting it in its original uncut version. Whether the film will deliver the goods for fans is a different story.

In 17th-century Italy, young Flavia witnesses her tyrant father massacre a tribe of heathens and decapitate a friendly smiling man before her very eyes. He then imprisons her in a monastery, to live a life of solitude dedicated to serving the Lord.

Those expecting a nunsploitation masterpiece filled with blasphemous sex acts, oodles of nudity, and lesbianism aplenty will be sorely disappointed by FLAVIA. Mingozzi's intent is to create a historic piece, based on true events, rather than an exploitation film. The isolated countryside setting is incredibly well-photographed by Alfio Contini and the musical score by Nicola Piovani is simply marvelous.

Still, the film does contain its fair share of convincing violence (impalings, nipple slicing, and the infamous skinning scene, presented here completely uncut) and those seeking nudity will enjoy Flavia's drug-induced hallucinations, including a nun climbing into a hollowed-out cow carcass and a dinner party gorging on a nude body on a table. FLAVIA hinges on the ensemble cast, all contributing fine performances. Bolkan was rarely offered leading roles where she spends so much time on-screen, so this is a special treat for her fans. Maria Casares makes quite an impression as the elderly Sister Agatha, whose spunky feminist attitude inspired Flavia in her quest for inner peace.

The extras on the disc won't blow anyone away, but they create a nice little package nonetheless. First up is a video interview with Florinda Bolkan, where she discusses her character motivations, her personal connection with Catholicism, and the working relationship with Mingozzi and her fellow actors. Other than bad lighting, it is a wonderful addition, a rare opportunity to hear her speak of her career. A stills gallery collects lobby cards and posters from Germany, Italy, and Holland (one calls the film THE REBEL NUN?!), a good number of production stills, and a scan of a rare 45 RPM record containing themes from the film. Alas, no trailer, but there apparently wasn't one available from the licensor.

Special thanks to DVD Drive In for giving Nunsploitation.Net permission to reprint this review

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