Mother Joan of the Angels

  • February 16, 2014 / 18:00
  • February 23, 2014 / 16:00

Director: Jerzy Kawalerowicz
Cast: Lucyna Winnicka, Mieczyslaw Voit, Anna Ciepielewska
Poland, 112’, 1961, black and white

Latin and Polish with Turkish subtitles

Taking the infamous and documented 'demonic possession' of a group of nuns in Loudun, France in 1634 as his starting point (events subsequently also adapted by Ken Russell for his notorious film The Devils), director Jerzy Kawalerowicz created an intensely provocative and visually astonishing film. Aided by an extraordinary performance by Lucyna Winnicka as Mother Joan, the possessed Mother Superior of the convent, and Mieczysław Voit as the troubled priest Father Józef Suryn, Kawalerowicz's masterpiece is a profoundly disturbing exploration of faith, repression, fanaticism and sexuality.

Canal

Canal

Ashes and Diamonds

Ashes and Diamonds

Night Train

Night Train

Mother Joan of the Angels

Mother Joan of the Angels

Innocent Sorcerers

Innocent Sorcerers

Knife in the Water

Knife in the Water

The Saragossa Manuscript

The Saragossa Manuscript

Trailer

Mother Joan of the Angels

From the Age of Reason to the “Tortoise Trainer”

From the Age of Reason to the “Tortoise Trainer”

A Salon exhibition held in the Grand Palais in Paris on May 1, 1906 showcased an Ottoman painting. This was Osman Hamdi Bey’s famous “Tortoise Trainer”. 

Portrait of Martín Zapater (1797)

Portrait of Martín Zapater (1797)

Martín Zapater y Clavería, born in Zaragoza on November 12th 1747, came from a family of modest merchants and was taken in to live with a well-to-do aunt, Juana Faguás, and her daughter, Joaquina de Alduy. He studied with Goya in the Escuelas Pías school in Zaragoza from 1752 to 1757 and a friendship arose between them which was to last until the death of Zapater in 1803. 

The First Nudes

The First Nudes

Men were the first nudes in Turkish painting. The majority of these paintings were academic studies executed in oil paint; they were part of the education of artists that had finally attained the opportunity to work from the live model. The gender of the models constituted an obstacle in the way of characterizing these paintings as ‘nudes’.