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Under the Sun of Satan (1987)

Sous le soleil de Satan (original title)
Dossignan is a zealous rural priest. The dean Menou-Segrais tries to keep him reasonable. But Dossignan will be tempted by Satan, then will try to save the soul of Mouchette, a young girl who killed one of her lovers.

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(novel), (scenario) (as Sylvie Danton) | 1 more credit »
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1 win & 7 nominations. See more awards »
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Cast

Cast overview, first billed only:
...
...
...
Alain Artur ...
Yann Dedet ...
Brigitte Legendre ...
Jean-Claude Bourlat ...
Malorthy
...
Le maquignon
Philippe Pallut ...
Marcel Anselin ...
Mgr Gerbier
Yvette Lavogez ...
Marthe
Pierre D'Hoffelize ...
Havret (as Pierre d'Hoffelize)
Corinne Bourdon ...
La mère de l'enfant
Thierry Der'ven ...
Sabroux
Marie-Antoinette Lorge ...
Estelle
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Storyline

Dossignan is a zealous rural priest. The dean Menou-Segrais tries to keep him reasonable. But Dossignan will be tempted by Satan, then will try to save the soul of Mouchette, a young girl who killed one of her lovers. Written by Yepok

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

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Details

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Language:

Release Date:

10 February 1989 (USA)  »

Also Known As:

Under the Sun of Satan  »

Company Credits

Production Co:

, ,  »
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Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

When the movie was announced as the winner of the Palme D'Or at the Cannes Film Festival (with the jury declaring that it was an unanimous vote), the audience whistled when the director Maurice Pialat was on his way to the stage to receive the award. Pialat's response to this was to raise his fist, replying: "If you don't like me, I don't like you either". See more »

Quotes

[first lines]
Donissan: With you, everything looks easy. Alone, I'm useless. I'm like the zero, only useful next to other numbers. Priests are so miserable. They waste their lives seeing God being ignored. People make jokes on us. We're like those walls where people write obscenities.
Menou-Segrais: You're tired.
Donissan: Tired? I'm not tired. Tired is a bad thought.
Menou-Segrais: Suspend your visits.
Donissan: Those visits do more harm than good. In the beginning, I didn't know evil. I learned it from the mouths of the sinners.
Menou-Segrais: No one knows better ...
[...]
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Connections

Featured in One Hundred and One Nights (1995) See more »

Soundtracks

Intermezzo de la Symphonie No. 1
Musique: Henri Dutilleux
Orchestre National de Lyon
Direction: Serge Baudo
édition Amphion
enregistrement H.M.C. 5159 Harmonia Mundi
c/o Music Services
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User Reviews

 
Masterpiece of French Cinema
31 May 2003 | by (Sydney) – See all my reviews

I'm not quite sure what people mean when they say this film is "difficult". On the surface, the film has a very straightforward storyline of a priest (played brilliantly and movingly by Depardieu) struggling with his own demons that materialise internally and externally.

From this basic premise the film can be explored from several key standpoints to obtain real insights into subjects such as the power/source of faith, the relationship between thought/belief and one's relationship to the world we inhabit.

Moreover, the questioning employed by Pialat and Depardieu means that the path of thought through these issues is profound, intense and disturbing. The film provokes the intellect constantly and I could understand that if there was nothing more to the film, one might say that "is that it?"

What takes this film much further is the emotional undercurrent - both understated and abyssal, the stunning cinematography and restrained direction. These factors combine to create a complete cinematic experience.

One scene stands out in this respect: we watch the priest wander the countryside in a daze and he pauses on the side of a hill, lush with spring grass. Depardieu looks up, eyes searching for insight, an answer, a response. In a brilliant stroke of luck, passing clouds obscure the sun and Depardieu instinctively internalises this shifting light with a simultaneous passing of emotion portrayed through his face and posture. We watch both the internal shifting cloud of emotion and the changing light create a charge and intensity that is rarely seen in cinema. There is an element of the `unknowable' in this scene that still moves me, even after many viewings.

I also enjoy making comparison between this film and Dreyer's "Das Wort" (The Word), my favourite of Dreyer's works which has some common theme's, explored from different perspectives.

A truly great film, worthy of the Palme D'or it won.


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