"Anchoress" (English/Dutch): I've watched this one over and over. I don't own it yet, but I will. It is fascinating, beautiful, strange, and insightful. "Anchoress" takes place during the European Medieval period, when humans survived at the mud level. This story is about one young woman who tries to find comfort and beauty inside the church,with the 'Mother Mary'...or at least a poorly made icon. She hasn't the capability of deciphering her motives, and soon offers herself to the church as an "Anchoress" - a person devoted to God, relinquishing all worldly connections, and being voluntarily cemented into a small crawl space of her church's wall (!) - for the rest of her life. Strange times, those...except we see that the priest considers this a good marketing move for the church (to have such an "attraction"). Yet, things don't go the way anyone predicted... "Anchoress" is shot in some of the most powerful black & white film I've ever seen (equal to Bergman or Lynch), has an incredibly sensitive sound track (not music) attuned to the daily life of Earth, and, a camera that loves to be thoughtful and intimate. Each shot is a composed, artful image worthy of Rembrandt. If Rembrandt had used a movie camera, with b/w film, this could've been one of his films. Despite, or because of, the near total lack of dialog, there are scenes you will never forget. This is a very grounded film, while being mystical at the same time. Perhaps that's part of the attraction. It deals with our dual urges to rise above daily life, yet revel in it at the same time. I understand more upon each viewing of "Anchoress".

If this film appears sparse to some I would remind the viewer that agrarian life 500+ years ago was just that. What Anchoress may lack in dialogue is made up for in sound, texture, and detailed attention to lighting, mostly outdoor. Very few films (Seventh Seal) are able to capture the stark setting of the underpopulated reality that was Europe - not all historical scenarios need be drowned with battle sequences, lavishly dressed royals, and epic soundtracks aimed to fill empty spaces. No one lived like that except a small few. I would recommend this film to anyone who has an appreciation of women's history, and ancient Christian mysticism. The story of Christine's descent into the church, her rebirth, and eventual retreat into the earth is beautifully filmed and acted by all involved in this unique project. A scene not to be missed is Christine's fabulously angry mother pissing before the priest on his own church yard. Why all the pagans out there who frequent this site have not championed this movie is beyond me!

one may need a plot summary of the story being told in the anchoress, but only if one has somehow remained ignorant of those forms of punishment forever meted out on women's bodies and minds by ideologies of transcendence, and for some reason considers those punishments better articulations of truth than are the images in this magnificent film. i am grateful for having stumbled upon it, and suggest that many will be well rewarded for paying it close attention.

Exquisitely spare cinematography and striking visuals which ape Andrei Tarkovsky's ANDREI RUBLEV cannot save this medieval tale from being a disappointment. English director Chris Newby's first feature is a dismally muddled array of images of life in a remote 14th-century village. Talented young thespian Natalie Morse (of Peter GreenawayÕs DROWNING BY NUMBERS) nevertheless succeeds in her tricky role as Christine Carpenter, a girl touched by transcendent grace, who succumbs to the misguided religious authority of the times and becomes an anchoress, a virgin who is walled up in a chamber in the church, to serve as a moral beacon for the villagers.This makes the snickering local priest (Christopher Eccleston) overjoyed, as he takes her away from the Reeve (Eugene Bervoets, of the original French-Dutch production of THE VANISHING), the local military power monger. She is periodically visited by her surly pagan mother (English new-wave personality Toyah Wilcox) and pretty much ignored by her father, who is played by Pete Postlethwaite.The only real power in the film is in the scenes with Christine alone, discovering her sensuality. The rest of the film is a mess, partly due to the confusing, overly obscure script, which hardly lets the audience know what's going on without benefit of reading a plot synopsis beforehand. It purports to observe the female condition through the ages, but ends up being mostly uninsightful and boring.