The film makes good use of one of the most obscure and controversial legends surrounding the Papacy: the existence - which for centuries has been the subject of some credit - of a pope who was, in fact, a woman. Disguised as a man in order to receive the education and opportunities that were denied to the female sex, she became a monk and priest, and went to Rome, where she became coadjutor to Pope Sergius II. So relevant was his action that he was eventually elected to succeed him, ruling the Church for some time. According to medieval legend, the truth about this pontiff was made public when he went into labor during a procession. Of course, all of these are medieval legends, very much influenced by the medieval conscience, implicit between the lines, that women would have the capacity to shine, if they wanted and were given space, in the most important positions and positions.
The film is quite good and it was able to build on top of the original medieval legend a story that, in addition to entertaining quite well, sounds pertinent in the current panorama of Catholicism: for centuries the role of women in the heart of the Church was not something so debated and controversial as it has been lately. Joana's family represents the mentality of the time: the man commanded, decided, and the woman supported, supported the home, had children. Do not think that this was a uniform portrait: there are immense examples of medieval women who have distinguished themselves at the most diverse levels. But do not think, too, that the submission of women was something contested by women. Much more controversial was the religious shock, slightly addressed by the natural beliefs that Joana's mother, in this series, keeps hidden from her husband. Religious tolerance was not part of the European medieval world, or it was residual and fluctuating, perhaps even more present in the areas of Southern Europe, where interfaith contact was more frequent.
The film is based on a good performance by Johanna Wokalek, an actress who had never seen her work but who seemed very competent, safe and at ease with her character. She was perfect for the character, and knew how to use every moment to shine. Equally, remarkable was the work of David Wenham, who gave life to a nobleman with whom Joana falls in love and with whom he becomes involved, and John Goodman, an already veteran actor who does a wonderful job of giving life to the burly and authoritarian Sérgio II. Iain Glen gave life to the most execrable character in the film, but he did it impeccably, worthy of the actor's talent.
Directed by Soenke Wortmann, the film takes place at a relatively fast pace, taking into account the story told and the way it seems to want to show a lot in a relatively short time. Even so, it is a film of two and a half hours, which pass without being felt given the quality of the finished product. The film was able to take advantage of CGI and filming on location to create an appealing and interesting vision of the European 9th century. Cinematography works quite well and the effects and CGI used were able to shine without obscuring the story or depriving it of realism and a reasonable dose of credibility. The sets and costumes work equally well, in particular the whole costume of the Pope, loaded with authority and symbols that, even today, are easily recognized by any Catholic.
The film is quite good and it was able to build on top of the original medieval legend a story that, in addition to entertaining quite well, sounds pertinent in the current panorama of Catholicism: for centuries the role of women in the heart of the Church was not something so debated and controversial as it has been lately. Joana's family represents the mentality of the time: the man commanded, decided, and the woman supported, supported the home, had children. Do not think that this was a uniform portrait: there are immense examples of medieval women who have distinguished themselves at the most diverse levels. But do not think, too, that the submission of women was something contested by women. Much more controversial was the religious shock, slightly addressed by the natural beliefs that Joana's mother, in this series, keeps hidden from her husband. Religious tolerance was not part of the European medieval world, or it was residual and fluctuating, perhaps even more present in the areas of Southern Europe, where interfaith contact was more frequent.
The film is based on a good performance by Johanna Wokalek, an actress who had never seen her work but who seemed very competent, safe and at ease with her character. She was perfect for the character, and knew how to use every moment to shine. Equally, remarkable was the work of David Wenham, who gave life to a nobleman with whom Joana falls in love and with whom he becomes involved, and John Goodman, an already veteran actor who does a wonderful job of giving life to the burly and authoritarian Sérgio II. Iain Glen gave life to the most execrable character in the film, but he did it impeccably, worthy of the actor's talent.
Directed by Soenke Wortmann, the film takes place at a relatively fast pace, taking into account the story told and the way it seems to want to show a lot in a relatively short time. Even so, it is a film of two and a half hours, which pass without being felt given the quality of the finished product. The film was able to take advantage of CGI and filming on location to create an appealing and interesting vision of the European 9th century. Cinematography works quite well and the effects and CGI used were able to shine without obscuring the story or depriving it of realism and a reasonable dose of credibility. The sets and costumes work equally well, in particular the whole costume of the Pope, loaded with authority and symbols that, even today, are easily recognized by any Catholic.