Agnes Review: Everything you should know!
Agnes is a 2021 American horror drama film directed by Mickey Rees and starring Hayley McFarland as the titular character.
Rumors of demonic possession in a religious convent prompt an investigation into strange activities among church nuns. A disaffected priest and his newborn face temptation, bloodshed, and a crisis of faith.
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Agnes Ending Explained: What happens with Agnes?
The film opens with a scene largely depicting nuns when a young sister named Agnes begins cursing and lifting the cup. The next moments are spent among the priests who contemplate what to do with the young nuns as well as a way to rid themselves of another problem.
The alleged pedophile Father Donaghue. The priest is given exorcism training and ordered to go to the convent. He enlists priest Benjamin in training and warns the novice against taking his vows.
In Agnes, a young sister Agnes is believed to be possessed by a demon when she screams obscenely and is filled with anger at her fellow sisters. Father Donoghue is assigned the case and travels to the convent to see what he can do for this young woman,
As well as a young priest who has not yet taken his vows, Benjamin. Father D’s caustic attitude and the thick-cut caricatures of his superiors suggest that “Agnes” will be less a horror film than a sendup.
That notion is further enhanced by the depiction of the convent, where a variety of devious and clumsy sisters live in a mashup of “Nunsense” and “The Little Hours”.
Yet the plight of the title character (Haley McFarland) is presented very simply: she’s an outright innocent who has been transformed by some evil spirit into a dishonest, violent gremlin.
When Donaghue’s nose is nearly cut off in an encounter, he asks for backup in the form of outcast celebrity exorcist Henry Black. But even that intervention attempt is not good.
Agnes Review: Is the movie really Scary?
“Agnes” is (kind of) a horror movie, with some terrifying scenes, and the atmosphere is dark and foggy. Even the diner where Father Donaghue schools Ben in coming times is a gloomy morgue all lit up like cold greens and specter.
Cinematographer Samuel Calvin is to be commended for his brilliant work, and Rees’s innate understanding of when to move the camera, and more importantly, when not to move the camera.
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It is all so beautifully put together. Contrary to expectations, the titular Agnes isn’t the film’s pivot—rather, it’s her friend, Sister Mary (Molly Quinn), who faithfully follows the genre hybrids offering after the first half.
Being close to Agnes and familiar with the acute loss, Mary struggles with her faith, trying to make it on her own in the harsh, practical world, leaving the convent after a devastating and traumatic event.
The tongue-in-cheek, pastiche-y aura of the first half slowly begins to dissipate, as Mary attempts to fill the void left inside her, to cope with minimum-wage jobs, and to make peace with the past.
looking all the time towards a bleak future. A disturbing aura grips Mary’s story, and Quinn made a remarkable performance, expressing the various stages of her grief in an arresting manner.