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To me, this movie is perfection.

A lot of perfectly good film show their cards early, establish a unique premise and let the audience explore a topic at a leisurely pace, without much in terms of surprise. this film is not one of those films.

The acting is good, and the firecracker script has some excellent ideas.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Let's get the obvious out in the open right away: She'll have nun of that. Never gets old, though if we're talking old nun, she does get old. Also doesn't want the other nuns to have fun. Well she won't become Cyndi Lauper anytime soon then. But the nuns are resourceful and find "wood" in the strangest places ... both literally and metaphorically speaking if you know what I mean.If you don't let me tell you that this is sleaze at its finest (if that's your cup of tea of course). Still it does drag and it feels very episodic with all the nuns and their different ways to "heaven" (or climax that is). If I make this sound better than the actual experience of you watching this will be, don't blame me. I had to write something and describing penetration scenes or torture (physical or other kind) isn't the way I wanted to go. Suffice to say, this is not for any church goers .. well not the "right" ones

An offbeat mixture of art-house weirdness and sleazy exploitation, I found this to be a highly unappealing movie. I for one am not a fan of art-house cinema in general - maybe I just don't 'get' it, but I find much of it boring, and the same is true for this movie. Personally I was expecting some sleazy horror film in the vein of KILLER NUN or THE OTHER HELL, but instead I got a lame art movie with nothing going on.Sure, the direction of Walerian Borowczyk (what a name to go to bed with!) is unconventional and stylish, but this movie just doesn't go anywhere. Instead we have endless scenes of seduction, intrigue and the like and a few spotty deaths, and we're supposed to care? The strict uniform that the nuns wear mean that it's difficult to distinguish between them, not that you would care to either. The sexual side of the film means that there's a lot of nudity (for instance, one nun likes to do nude aerobics!) and sex scenes, which were unappealing to a fan looks for thrills of a different sort like myself. Only the organ music playing on the soundtrack is really distinctive. Otherwise, give this art-house bore a miss.

While it's essentially a given misconception that many cinephiles drawn to specific and sub genres of horror and exploitation films (especially those made in the early days of the respective genre; ie. the '70s) must frequently trade quality in order to satiate their "sordid desires," I've seen enough films in the nunsploitation category to say with a definite certainty that "this is not true....in MOST cases." However in this particular instance the aforementioned cliché could be considered fact. "Behind Convent Walls" (as it is known in English speaking countries) is one of the biggest waste of film-stock I've ever seen.The movie is almost entirely devoid of: 1) a plot of any kind, 2) decent acting, 3) an intelligible script, or cohesive a storyline 4) as well as capable directing. Not to mention, the editing seems to have been done by a mindless lummox with his eyelids sewn shut, who was randomly swinging a meat cleaver in order to make many of the cuts.Now while some might be praying my initial statement bears some relevancy here, I can assure you that not even "the hand of God" could mask the lack of any negotiable "balance" or exchange, as it were. There is a single graphic scene that could be considered a blessing of redemption, but the remainder is little more than a few glimpses of breasts peppered (quite infrequently I might add) throughout the mainstay of this tediously boring abomination.If self-flagellation is what you're into, then sitting through this damnation might be what you're looking for. Though I wouldn't count on either Jesus, or the Devil giving you any "brownie" points for watching it. They'd probably BOTH condemn you for your (poor, lack of) taste, after such a confession.

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]).