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    • Image courtesy of lwlies.com

      lwlies.com

      • Cannes debut “ Benedetta ” is his latest provocation, a true story about 17th-century Italian lesbian nuns who were punished for their sins by the patriarchal Catholic Church.
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  2. Jul 13, 2021 · Paul Verhoeven, left, and Virginie Efira pose for photographers upon arrival at the premiere of the film 'Benedetta' at the 74th international film festival, Cannes, southern France, Friday, July ...

  3. Jul 8, 2021 · Verhoeven’s new film, premiering in competition in Cannes, is Benedetta, a true-life historic drama about a 17th century French nun who has erotic visions of Jesus and...

  4. Dec 3, 2021 · Paul Verhoeven on ‘Benedetta’ and Making a Film About Jesus - The New York Times. Advertisement. Paul Verhoeven Has Made a Film About a Lesbian Nun. Jesus Is Next. The Dutch filmmaker explains...

  5. Apr 15, 2022 · Verhoeven argues that Benedetta, a story derived from the “testimony of women”, comes from “a feminist point of view”. “The book was written by a woman, the camera is done by...

  6. Feb 13, 2022 · In Benedetta, Paul Verhoeven tells the forbidden love story of two nuns while confronting gender bias in 17th century Italy - ABC News. ABC Arts. / By Keva York. Posted Sun 13 Feb 2022 at 11:39am. "In [Paul Verhoeven's] films, the women don’t leave the subject of sex to men, it also belongs to them,” Efira told W Magazine.

  7. While mostly following the account from Brown's book, Verhoeven explained in an interview that much of the ending was fictional: he added the revolt of the citizens, and the attempt to burn Benedetta at the stake was borrowed from the story of Joan of Arc. In interviews he has also stated that the dildo was required to be "historically accurate ...

  8. Apr 6, 2022 · Film. 6 April 2022. With Benedetta, Paul Verhoeven proves he is as outrageous and iconoclastic as ever. The Dutch director’s latest sinful rampage follows a lesbian relationship in a 17th-century convent. By Ryan Gilbey. No holding back: Benedetta offers religious visions, taboo desires and director Paul Verhoeven’s trademark excess and iconoclasm.