Anchoress (1993)

A visual feast for the senses and soul
I was so enthralled by the beauty of this film that I had to go back and see it again the next night. I might add that I almost never see movies twice. Visually stunning black and white cinematography toned a deep blue-tone, lent a rich sense of dreamlike antiquity to the film. Shot on location in northern France, full of medieval icons and stone buildings, surrounded by peasant farms and fields the film touched on many local customs and lore : gypsies with houses in trees, a dark-tressed virgin mary-possibly an older connection to Ceres or an earth-mother goddess, early midwivery, and, perhaps most importantly the desire for a direct connection to God, which conflicts with the Church-as-middle-man role. The story was a deeply moving and inspiring tale of a pure desire to touch divinity.

A Profound depiction of medieval life
There are not enough words to describe the utter beauty of Anchoress. The imagery and symbolism is intellectually and visually satsifying; one could watch this film over and over again without boredom. The silence, which so permeates this film, allows for a certain contemplation for the viewer; the dialogue is fabulous, and is not thrown around in an uncareful manner - it is placed where it is needed, conveying perfect and correct meaning. Overall, Anchoress offers the most expressive and possibly most accurate depiction of medieval life (even though us 21st century folks don't know what that would truthfully be) on film. I could not imagine Anchoress being in color - it would take away from the grainy feeling of the black and white, which is such a key part to the imagery I believe; the black and white even adds more to the medieval feel. Moreover, the story of Anchoress is equally important. Christine, the young anchoress (Natalie Morse) could teach us a lesson or two - she finds God in her food, in the dirt, in a beautiful (yet very primitive looking) Virgin statue, in a small cell, and underground; Christine discovers God. . . she does not allow God to be dogmatically pushed on her (as seen in her discussions with the Priest). I could watch Anchoress over and over. . . honestly. As a medieval history buff and as one interested in the lives and practices of medieval anchoresses, I highly recommend this film to others with the same interests. Also, to anyone who appreciates visually stunning film, Anchoress will fill your mind with awe.

A Profound depiction of medieval life
There are not enough words to describe the utter beauty of Anchoress. The imagery and symbolism is intellectually and visually satsifying; one could watch this film over and over again without boredom. The silence, which so permeates this film, allows for a certain contemplation for the viewer; the dialogue is fabulous, and is not thrown around in an uncareful manner - it is placed where it is needed, conveying perfect and correct meaning. Overall, Anchoress offers the most expressive and possibly most accurate depiction of medieval life (even though us 21st century folks don't know what that would truthfully be) on film. I could not imagine Anchoress being in color - it would take away from the grainy feeling of the black and white, which is such a key part to the imagery I believe; the black and white even adds more to the medieval feel. Moreover, the story of Anchoress is equally important. Christine, the young anchoress (Natalie Morse) could teach us a lesson or two - she finds God in her food, in the dirt, in a beautiful (yet very primitive looking) Virgin statue, in a small cell, and underground; Christine discovers God. . . she does not allow God to be dogmatically pushed on her (as seen in her discussions with the Priest). I could watch Anchoress over and over. . . honestly. As a medieval history buff and as one interested in the lives and practices of medieval anchoresses, I highly recommend this film to others with the same interests. Also, to anyone who appreciates visually stunning film, Anchoress will fill your mind with awe.