| Ligia Branice | ... | Sister Clara | |
| Howard Ross | ... | Rodrigo Landriani | |
| Marina Pierro | ... | Sister Veronica | |
| Gabriella Giacobbe | ... | Abbess Flavia Orsini | |
| Rodolfo Dal Pra | ... | Bishop | |
| Loredana Martínez | ... | Sister Martina | |
| Mario Maranzana | ... | Father Confessor | |
| Alex Partexano | ... | Silva (as Alessandro Partexano) | |
| Olivia Pascal | |||
| Gina Rovere | |||
| Dora Calindri | |||
| Francesca Balletta | |||
| Maria Cumani Quasimodo | (as Maria Cumari Quasimodo) | ||
| Carole Fouanon | |||
| Miana Merisi | |||
| Simona Villani | |||
| Paola Arduini | |||
| Silvano Bernabei | |||
| Brid Cranitch | |||
| Stefania D'Amario | |||
| Elisabeth Jane Long | |||
| Imelde Marani | |||
| Patrizia Mauro | |||
| Paola Morra | |||
| Mike Morris | |||
| Antonietta Patriarca | |||
| Elisabetta Pedrazzi | |||
| Rossella Pescatore | |||
| Valeria Pescatore | |||
| Paola Prosdogemi | |||
| Romano Puppo | |||
| Jole Rosa | |||
| Romana Monti | |||
| Greta Vayan |
Directed by | |||
| Walerian Borowczyk | |||
Writing credits(in alphabetical order) | ||
| Walerian Borowczyk | writer | |
| Stendhal | novel "Roman Walks" | |
Produced by | |||
| Giuseppe Vezzani | .... | producer | |
Original Music by | |||
| Sergio Montori | |||
Cinematography by | |||
| Luciano Tovoli | |||
Film Editing by | |||
| Walerian Borowczyk | |||
Set Decoration by | |||
| Francesco Chianese | |||
| Luciano Spadoni | |||
Costume Design by | |||
| Maria Laura Zampacavallo | |||
Makeup Department | |||
| Andreina Ambrosini | .... | assistant makeup artist | |
| Maria-Luisa Fraticelli | .... | hair stylist (as Maria Luisa Fraticelli) | |
| Mario Michisanti | .... | assistant makeup artist | |
| Franco Rufini | .... | key makeup artist | |
Art Department | |||
| Filippo Bufo | .... | assistant set decorator | |
Sound Department | |||
| Carlo Palmieri | .... | sound | |
| Alberto Tinebra | .... | sound mixer | |
Special Effects by | |||
| Giulio Molinari | .... | special effects | |
Camera and Electrical Department | |||
| Maurizio Lucchini | .... | assistant camera | |
| Giuseppe Tinelli | .... | still photographer | |
Editorial Department | |||
| Roberto Olivieri | .... | assistant editor | |
| Elvira Zincone | .... | assistant editor | |
Other crew | |||
| Bruno Bagella | .... | production secretary | |
| Anna Maria Bifarini | .... | script supervisor | |
| Mario Longardi | .... | press attache | |
| Alessandrina Pellegrini | .... | production secretary | |
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| Tout le monde il en a deux | L'uomo che guarda | Emmanuelle | The Cheerleaders | Trasgredire |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb Italy section |
This is one of the more notable nunsploitation films (shot in Italy), which was rushed into production after a proposed project starring Monica Vitti fell through. Being the Borowczyk fan that I am (even if about a third of his work that I've watched has proved disappointing to a degree!), I had wanted to purchase the R2 DVD ever since it was released but kept postponing it for a couple of reasons - one, because it's only available in an English-dubbed version (though it's not too bad as these things go) and, two, the somewhat prohibitive price (in fact, it's only while in London recently that I managed to find the most affordable copy, albeit still not cheap at $25!).
As is to be expected from this Polish film-maker, we're treated to an artier kind of erotica (some of the sex surprisingly involving Ligia Branice, Mrs. Borowczyk herself!) - with lush soft-focus cinematography by the renowned Luciano Tovoli. However, despite being a Stendhal adaptation, Borowczyk here pays little regard for the usual necessities of plot and characterization (in fact, apart from Branice and future muse Marina Pierro, the nuns are virtually indistinguishable from one another): this semi-improvised approach does render the whole somewhat inconsequential (especially in comparison to some of his other work), to say nothing of aloof - which eventually detracts from the impact the tragedy at the end ought to have (despite involving murder, a couple of suicides and a determined effort by the higher echelons of the church to hush up the affair altogether)!
Even so, the director's hand is unmistakable throughout, inevitably reaping the occasional reward - not only his customary fetishizing of props (such as the controversial and oft-censored scene in which the face of Christ is carved on a piece of wood, then utilized by one of the nuns as a dildo!) but also his fervent attack on figures of authority, class structure and especially the repressiveness of Catholicism (linking the film with, among others, such earlier Borowczyk fare as BLANCHE [1971], IMMORAL TALES [1974] and THE BEAST [1975]).