It is a Joseph Campbell-esque concept, exploring the myth of origins and pop culture’s infinite cycle. These reshaped stories retain the original framework but have evolved into repurposed narratives with different messages and different means of appreciation. It’s not that they are incorrect, per se. In this example and others, including tales from the Bible, the details of the stories as the women tell them differ wildly from those that Ignatius and the television audience know. This causes problems for all parties, to say the least, connecting to a cynical view of contemporary Catholicism as a political entity of statecraft and smoke-filled rooms, partial to conspiracies and cover-ups.Įarly in the piece, before the proverbial really hits the fan, Ignatius listens to Sister Margarita mutilate the story of Beauty and the Beast, in a hallucinogenic moment that establishes a compelling, reality-shifting tangent extending across the four episodes. They decide they simply cannot allow that to happen. The older pair ascertain that Ignatius is there because the church intends to redevelop the property, paving pietistic paradise to put up a parking lot (for a planned luxury resort). The nuns may be stark raving mad, but stupid, they are not. Knock-out performances from an outstanding cast keep the drama trembling with emotion. They are intrigued by his cordless (that is, mobile) phone, an early indication that these women don’t get out much. After a fit of hollering and knife waving – two common activities on this island – the trio wearily welcome their new visitor, or at least acknowledge his presence. That changes when Father Ignatius (Sam Reid) stumbles into the convent and interrupts the group’s lambs-blood-drinking ways. They are Sister Iphigenia (Essie Davis), whose recreational pursuits include staring into fires and witnessing hideous visions, Sister Margarita (Ann Dowd – an expert at playing creepy characters, as this hashtag demonstrates) and the youngest, Sister Carla (Jessica Barden) who has never left the island nor seen a man. It looks like the sort of location where an Agatha Christie murder mystery might take place (And Then There Were None, for instance) but instead it is the isolated home of three crazy-eyed nuns, located somewhere south of Tasmania and west of hell. Walker opens the first episode with a shot crawling across a vast body of greyish-blue water, towards a foliage-splotched rocky island with steep cliff faces. Lambs of God has a darkly beautiful and surreal aesthetic.
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