从海啸实验室过来的。 这部片子的制作确实很精良，但是对于我来讲，观看过程是有一定痛苦的。 这部电影的综合性很强，融合了很多元素，但是这些元素对于导演表达情感起到了足够的积极作用吗？我认为没有。波普元素，色彩与场景的特写，某些关键性的，装饰性画面的定格，都给人一种强烈的荒诞感。这种荒诞感在更深一层，就是基于电影本身产生的无聊与费解。 它到底想说什么？ 修道院的罪孽，本质上来讲源于院长的嫉妒，神甫的欲望（虽然他本身也是受害者），而进入修道院的女孩子反而是更加纯洁的。 但是这种罪孽本身并不具有那么强的特殊性，并不仅限于修道院，虽然修道院的背景强化了这种讽刺意味。 个人觉得，这部剧的背景不如改在神甫的私宅中（神甫的身份可以变一变，例如富豪）我觉得往索多玛方向走一走会更好。 不是很理解多川为什么要找男子来搞副院长嬷嬷，以恶制恶这种桥段并不是加分项。 元素的大乱炖突出了这部剧的bug，得不偿失。

As each sequence is carefully shot, which could be said in confidence given the effort of the craftsmanship devoted to details, the atmospheric gloom and expressionist pictures the works gifted successfully transform the half cliche half nonsensical narrative to a libido story set in a bloody monastery with ubiquitous lynches.

However, to find it enjoyable, one not only has to ignore the significance it might lack, but also to forgive its broad devices to arouse audience's sexual desire or voyeurism zeal. But to argue with this renders me an out of place moralist. Isn't it the same as someone says devaluing things toward electronic music for the absence of live instumental performance? Or blaming Musique Concrète has no rhythm, melody and the likes. However the erotic intention superficially lies low an anti-hypocrisy theme is laughable , the movie is good for discussion in terms of literary analysis. As anything elobarate constructed or inclusive to different cultural and societal issues or has ample allusions to concepts and images at all times and in all places is easy to translated into linguistic interpretation. Imagination can also go further than the original thoughts intented, thanks to the interpretation devices! But when a works is limited to topics in film study, it means that the film only exists and, would be honoured, in an incommodious milieu.

But there is the possibility of gaining both critics and mundane audience's applause. Critics has a twofold identity, them as a normal viewer, has preference for what are in line with their own values, and them as an open-minded explorer, go beyond the subjective evaluation (personal likes and dislikes) , to focus on the highlights whatever the works have. Especially for arts in modern time, the split of the twofold character is more obvious, not necessarily according to Susan Sontag, modern arts challenge the previous thresholds for unbearable experiences, to know something does not equal to enjoy it, which is the case in classical times. And that's why modern arts looks "cooler", since they stand alone and not to court the audience's acceptance. But that is not absolute, some smart and less talented know how to court without being accused of degrading their arts, they court the critics, the intellectuals and experienced eyes, and the latter knows the significance of mutual relationship. When it goes to extreme, we can see the emporor's new clothes are qualified without shame and liberally put into mass production.

这是一部非常引人入胜的CULT FILM，也是日影史影响最大的修女剥削片，“修道女剥削”这种类型片是欧洲剥削片（在意大利最为流行）的主要分类之一，起源于丹麦1922年的的无声电影《女巫》，受此影响的日本，结合了东映流行的粉红暴力片 ，再加上导演铃木则文独特的摄影构图和喜剧元素，和恶趣味名编剧掛札昌裕参与的剧本，再结合日本SM文化独特的受难之美。打造出了这部多种元素大杂烩却又巧妙融合的作品。

影片的造型感独特，不像欧洲B级片的那么粗制滥造，恰恰相反导演对宗教的细节，乃至修道院的陈设都十分用心。影片主旨是复仇，年轻的女子与某个男人发生关系后就被送到了修道院，很快她发现这里的一切并不是想象中那样的， 女修道院中的秘密女同性恋关系逐渐被她窥探，修女们在这里会承受各种各种的“惩罚”，片头从现代大都市随剧情转入到犹如地狱般的天堂场景中，影射了奥斯维辛集中营和长崎核爆的内容（铃木则文另一部粉红经典《堕靡泥之星》同样蕴含这种战争罪恶元素），只不过可能因为日本审查机构，表现的非常隐晦，“修道女剥削”的固定母题当然不能少：大量亵渎性的图像，裸露和精神错乱挑衅偶像的名义出现，神圣的十字意在审问甚至折磨历史上困扰着天主教会的机构和个人性的教众伪善。

这部电影很时尚，因为铃木则文加入了众多超风格的波普艺术，同时也很下流，但这一切都设计的十分巧妙。影片不仅关注美学和感性，也如上面所说大量设计宗教意象的颠覆。 完美的对称，色彩鲜艳，并且具有一些巧妙的相机摄影技巧，比一般的粉红暴力子类型的艺术感更具创造力。一些桥段很令人印象深刻，灯光转移到修女的严峻面孔，鲜血滴落在屏幕上以及玫瑰花瓣以慢动作飞舞，传统的绳缚变成了欧式的荆棘之缚。初出茅庐的多岐川裕美在本片中的颜值是逆天的，导演仿佛连她吃饭的戏都要加上些许变态的小把戏为了蹂躏一下女神，她是我看过这么多粉红电影里颜值最让我印象深刻的女演员了。毫无疑问这部片子是亵渎神明的，是让很多人不舒服的，但是如果抛开这些问题仅仅是欣赏一部粉红电影来说，这部影片是优秀的。