The Little Hours 2017

In a picturesque 14th Century Italian forest, Sister Fernanda (Aubrey Plaza), clad in her winter habit despite the sweltering summer heat, leads a donkey through the trees, its path eventually leading them back to the confines of their convent. Upon their return, she is confronted by Sister Genevra (Kate Micucci) regarding the mysterious freedom of the donkey. Their conversation quickly escalates into a heated argument as they grapple with the issue at hand.

As they make their way toward the housing quarters of the convent, they pass by the groundskeeper, who offers them a warm greeting. In response, they unleash a barrage of obscenities upon him, their ire fueled by his refusal to respect their isolation. Their displeasure boils over into physical aggression as they assault him with vegetables and farming tools.

The scene shifts to the grandeur of a castle, where Lord Bruno (Nick Offerman) is engaged in an endless monologue about finances and wars with other lands. His wife, Francesca (Lauren Weedman), sits across from him, her patience wearing thin as she responds to his musings with biting sarcasm. Her gaze frequently meets that of Massetto (Dave Franco), the manservant standing nearby, their looks speaking volumes about the nature of their relationship.

As the evening wears on, Francesca and Massetto find themselves in bed, having just indulged in a passionate encounter. She vents her frustration about her husband’s incessant chatter, her words laced with venom as she worries he might soon interrupt them. However, Massetto interjects that she is equally guilty of complaining, only her grievances revolve around her husband’s constant whining. Francesca retorts that Massetto sounds eerily similar to her husband, prompting him to reassert his dominance primarily to silence her. Their momentary reprieve is shattered by the sound of footsteps, and Lord Bruno enters the room, unaware of the illicit activity taking place before him.

As Massetto makes his daring escape through the window, Lord Bruno is hot on his heels, but our protagonist’s quick thinking allows him to leap into bed and feign a deep slumber. The cunning nobleman, however, is not so easily fooled, detecting the subtlest of heartbeats beneath the covers. In a move that showcases Massetto’s cunning, he swiftly severs the ponytails of all the other servants, leaving none the wiser. Lord Bruno, oblivious to this betrayal, retires for the night, his plans foiled by Massetto’s cleverness.

The following morning brings a fiery reckoning as Lord Bruno discovers the severed ponytails and is consumed by rage. Later that day, Francesca’s lack of discretion leads her to attempt an illicit encounter with Massetto in the garden, unaware that Lord Bruno has been watching from afar. His ire inflamed, he dispatches his guards to apprehend Massetto, issuing a stern warning: “Cut off his balls.” With his life on the line, Massetto makes a break for the forest, leaving behind the intrigue and deception of the palace.

Meanwhile, at the convent, Sister Alessandra’s prim and proper demeanor is juxtaposed with her mundane tasks, as she busily weaves and embroiders fabrics alongside Sisters Fernanda and Genevra. Father Tommasso’s arrival sparks a discussion about Alessandra’s suitability for the convent, given her wealthy father’s generous donations. As he prepares to take the day’s harvest to market, Mother Superior and Sister Marea share their concerns about Alessandra’s true intentions.

The groundskeeper, wearied by the relentless abuse, decides to quit his post, leaving Father Tommasso to beg him to stay until his return from the market. His pleas fall on deaf ears as the groundskeeper departs, leaving the priest to ponder the consequences of his own actions.

In the forest, Massetto continues his flight, stumbling upon the inebriated Father Tommasso, whose cart has overturned, sending their precious fabrics swirling down the river. Moved by compassion, Massetto collects the soaked fabric, and Tommasso, still under the influence, offers him shelter at the convent. They devise a plan for Massetto to assume the groundskeeper role, with the added ruse that he is mute and deaf. This charade will keep the sisters at bay, allowing them to coexist without fear of retribution or abuse.

As Tommasso (Tomasso) brings Massetto back to the convent, the atmosphere becomes thick with anticipation. The next morning, he introduces the newcomer to Marea, who initially shows a healthy dose of skepticism but eventually agrees to take him on as the groundskeeper. Meanwhile, Tommasso fabricates a tale about being robbed by thieves, claiming they stole all the valuable fabric he had intended to sell. Genevra storms in, complaining that the convent’s donkey has been getting loose and demands that Marea entrust her with its care going forward.

In a poignant turn of events, Alessandra receives an unexpected visit from her father, Ilario, who communicates with her through a wall punctuated by small holes. His concerns revolve around finding a suitable husband for his daughter, citing the struggling family business and the inability to provide a sufficient dowry as major obstacles. He suggests that it would be more cost-effective for Alessandra to remain at the convent, where he could continue to make donations in her name. This revelation leaves Alessandra visibly distressed.

The following day, Fernanda stumbles upon Massetto in the courtyard, failing to recognize him and becoming enraged. She brandishes a weapon, demanding to know his identity. Marea intervenes, explaining that Massetto is the new groundskeeper and urging Fernanda to stand down. The younger sisters are both wary and curious about this newcomer, their minds whirling with questions.

As the evening unfolds, an anonymous assailant begins pelting Fernanda’s window with stones, prompting her to let in her friend Marta, who has arrived dressed in a nun’s habit. As they share a bottle of sacrificial wine, Alessandra joins them, drawn to the commotion. Genevra eventually shows up, reluctantly participating in their revelry.

As the night wears on, Marta shares whispers about a mysterious potion made from belladonna that can supposedly enthrall men. The group becomes increasingly intoxicated, and Fernanda and Marta’s friendship blossoms into something more intimate. Genevra, though initially hesitant, eventually succumbs to the moment, her inhibitions dissolving in a haze of wine and passion. In the end, she and Fernanda find themselves lost in a sea of desire, their drunken antics culminating in a night that will forever change the dynamics within the convent’s walls.

As the sun rises over the convent, Marta and Fernanda venture into the woods, their clandestine mission aimed at concocting a mysterious potion. Marta’s warnings to her companion fall on deaf ears as Fernanda unwittingly submits to the potent brew, its effects soon taking hold as she becomes increasingly entranced. Meanwhile, Genevra secretly observes the scene unfold, her eyes fixed on the unfolding drama.

The air is heavy with tension as Marta and Fernanda burst into Massetto’s quarters, their intentions far from benevolent. The atmosphere turns sinister as they disrobe him, their hands roaming freely over his body before Fernanda mounts him in a grotesque parody of intimacy. The women depart, leaving Massetto shaken and humiliated.

The next day brings an unexpected visitor to the convent: Bishop Bartolomeo (Fred Armisen), who is treated to a grand tour by Tommasso and Marea. Genevra, meanwhile, retreats to the wine cellar to recreate the fateful potion, her actions fueled by a desperate desire for escape. Her consumption of the brew sends her into a hallucinatory haze.

As chaos ensues, Massetto finds himself entwined in a web of deceit when he sneaks into Alessandra’s quarters, their passion igniting like a wildfire. However, their tryst is abruptly interrupted by the arrival of an elderly nun, who seems oblivious to their activities. As Massetto hides beneath the bed, Alessandra regains her composure and begins to embroider fabrics alongside the older woman.

The scene shifts as Massetto makes his escape, only to be confronted by Alessandra regarding his deceitful claims of deafness and muteness. Apologetic and contrite, he is granted another chance at intimacy, the two lovers surrendering to their desires once more.

Outside, Genevra’s intoxication reaches new heights as she brutally cuts her hand, smearing blood across her face in a macabre imitation of Fernanda’s earlier ministrations. Her altered state compels her to burst into Massetto’s quarters, Alessandra swiftly retreating behind a wall to conceal herself. As Genevra attempts to seduce Massetto, her actions are marked by a desperate ignorance, eventually giving rise to a candid confession: she is, in truth, gay.

As Marta and Fernanda burst into the scene, Genevra swiftly retreats behind the same wall where Alessandra was hiding, her presence shrouded in secrecy. Fernanda, with calculating precision, seizes control of the situation by binding Massetto’s hands, blindfolding him, and leading him away into the woods, accompanied by Genevra and Alessandra. The trio stumbles upon a gathering of nude witches dancing around a blazing bonfire, their pagan rituals an eerie backdrop for the unfolding drama. Massetto, bound to an altar, becomes the focal point of Fernanda’s malevolent intentions, only to be spared from ritual sacrifice when Genevra, fueled by her drug-induced state, launches into a frenzied assault on the witches. Marta attempts to placate her, but Genevra’s rage knows no bounds as she brutally attacks Marta with a massive totem stick.

As chaos ensues, Alessandra intervenes, halting Fernanda’s deadly intent and allowing Massetto to reveal his clever ruse. In a stunning admission, Genevra tearfully confesses not only her lesbianism but also her Jewish heritage, her words hanging in the air like a challenge to the gathered witches.

Genevra flees the scene, naked and besmeared with blood, and returns to the convent, frantically banging on doors, demanding assistance. Her cries eventually rouse Marea, who calls out “Just a minute!” from behind her bedroom door, unaware that Tommasso is already inside. As the sisters converge, accusations fly, with Genevra labeling Fernanda a witch, only for Fernanda to retaliate by exposing Genevra’s lesbianism and Jewish identity.

In a shocking revelation, Marea and Tommasso emerge from her bedroom, their nocturnal activities laid bare before the assembled nuns. The next morning, Bartolomeo summons the sisters to confess their transgressions, reading aloud the litany of their sins and offenses. Penance is meted out, and Tommasso’s priesthood is revoked, sending him to a monastery to atone for his misdeeds. Massetto, meanwhile, is returned to the castle of Lord Bruno, where he awaits imprisonment.

As the dust settles, the younger sisters sit in a field of blooming flowers, offering apologies for their betrayal, yet concern themselves with Massetto’s precarious situation, their voices carrying on the gentle breeze.

As Lord Bruno’s cruel whims take hold, Massetto is condemned to a life of misery within the prison walls, his existence a mere puppet show for the lord’s twisted amusement. The rats that plague him are merely a precursor to the true torment that awaits, as Bruno reveals his plan to keep Massetto alive and suffering for as long as possible. Meanwhile, the fates of those deemed unworthy are sealed, including Francesca, who is brutally punished by being entombed with a boar and dog - a gruesome fate reserved for those from enemy villages and considered barren.

As the days blend together in a haze of despair, Massetto implores Paolo and Gregorio to intervene on his behalf, but their callous indifference only serves to mock and taunt him further. The monotony is broken by an unexpected visitor: a turtle bearing a candle on its back, brought as a distraction by the nuns. The guards are entranced by this unusual spectacle, allowing Massetto’s would-be rescuers, Alessandra, Genera, and Fernanda, to slip in unnoticed and spring him from captivity.

In their haste to escape, the trio leaves behind a decoy - a dummy dressed in the same nun’s habit that now adorns Massetto. As they vanish into the night, they are joined by none other than Tommasso, who is reuniting with Marea amidst a tender confession of love. Just as they are about to share a romantic moment, the sisters burst forth from the trees, bearing Massetto in tow. With Fernanda momentarily distracted by a solitary donkey, Genevra seizes the opportunity to hasten their departure, and the group vanishes into the darkness, leaving only questions - and the abrupt ending of the film - behind.