Quills 2000

In the midst of the Reign of Terror, the infamous Marquis de Sade (Geoffrey Rush), imprisoned for his provocative writings, begins crafting a tale of passion and desire that revolves around the enigmatic Mademoiselle Renare, whose ill-fated encounter with her executioner sparks a chain reaction of events. Years pass, and the Marquis finds himself confined to the Charenton asylum under the watchful eye of the compassionate Abbé du Coulmier (Joaquin Phoenix), who has taken it upon himself to guide the troubled author.

Meanwhile, the Marquis’ literary endeavors continue unabated, with his laundress-turned-messenger, Madeleine “Maddy” LeClerc (Kate Winslet), smuggling his manuscripts through a mysterious horseman (Tom Ward) to a waiting publisher. The Marquis’ latest opus, Justine, becomes an underground sensation, prompting Napoleon’s (Ron Cook) ire and his advisor Delbené’s (Patrick Malahide) recommendation that the author be silenced.

As tensions escalate, Doctor Royer-Collard (Michael Caine), a stalwart proponent of traditional “treatments,” arrives at Charenton, bearing news that the Marquis’ therapeutic writings have been disseminated to the public. Horrified by this development, the Abbé rejects Royer-Collard’s offers of antiquated remedies and instead requests an audience with the Marquis himself, who responds by swearing fealty (and exchanging knowing glances with Madeleine through a peephole).

Undeterred, Royer-Collard departs for the Panthemont Convent in Paris, where he hopes to claim his promised bride, the youthful Simone (Amelia Warner). Their hasty nuptials take place in a dilapidated chateau, which is being renovated by a dashing young architect, Prouix (Stephen Moyer).

The Marquis’ creative energies remain unabated, and he crafts a farcical play titled “The Crimes of Love,” which premieres at a public exhibition. However, the performance is disrupted when an inmate, Bouchon (Stephen Marcus), molests Madeleine offstage, prompting her to exact revenge with an iron. This act of defiance has far-reaching consequences, as Royer-Collard shuts down the public theater and demands that the Abbé take stricter measures to rein in the Marquis.

The Abbé’s attempts to control the author only serve to fuel his subversive inclinations, leading him to express himself through increasingly unconventional means – including writing stories in wine on bedsheets and blood on clothing. This continued defiance ultimately results in a severe punishment, leaving the Marquis stripped bare and confined to an empty cell.

As Simone’s world descends into chaos, a parallel narrative unfolds at the Charenton asylum, where Dr. Royer-Collard’s obsessive pursuit of revenge against the Marquis de Sade has been ignited. The catalyst for this turmoil is Simone’s own rebellion against societal norms, as she unapologetically seizes control of her life by seducing Prioux and fleeing with him. In a stunning display of defiance, she leaves behind a letter outlining her actions, along with a copy of Justine, the notorious philosophical treatise that had seemingly inspired her transgressions.

Meanwhile, Madeleine’s desperate attempt to secure one final story from the Marquis sets in motion a chain reaction that will have far-reaching consequences. Bouchon, a patient at the asylum’s mercy, becomes entranced by the tale and breaks free from his cell, ultimately claiming the life of Madeleine. The already-tense atmosphere is further inflamed as Dauphin, a firebrand inmate with a penchant for pyromania, sets the asylum ablaze, allowing the inmates to escape their cells.

Tragedy strikes when Madeleine’s lifeless body is discovered by her blind mother in the laundry vat, while Bouchon is captured and imprisoned within an iron dummy. The Abbé, consumed by righteous indignation, goads the Marquis into a frenzy of anger, only to learn that he had been intimate with Madeleine in every possible way – yet she died a virgin. In response, the Abbé metes out a gruesome punishment, severing the Marquis’ tongue as retribution for his involvement.

As the years pass, the Marquis’ physical and mental health begins to decline precipitously, despite his continued fascination with the world of excremental art. Even in the depths of despair, he finds solace in decorating his oubliette with a tale scrawled in feces, a testament to his unyielding creativity.

In the aftermath of these events, a new Abbé du Maupas arrives at Charenton, inheriting the responsibility of overseeing an institution that has undergone a radical transformation. The asylum has been reconstituted as a printing press, with its inmates serving as the workforce responsible for producing the works of the Marquis de Sade.

As the new Abbé concludes his grand tour, he encounters his predecessor, who resides in the very cell once occupied by the Marquis. With a deep-seated desire to create, the Abbé begs for paper and quill from his predecessor, only to be herded away by Royer-Collard, now the overseer of the asylum. However, just as all hope seems lost, the peephole opens, and Madeleine’s mother thrusts forth paper, quill, and ink, allowing the Abbé to unleash a torrent of creativity as the Marquis provides a narrative that weaves together the threads of their shared experiences.