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If you've ever felt ashamed about being a woman, nun movies may be right for you. In these films, the nuns deal with a terrible war and the aftermath in the most secretive way possible. Ida by Powell & Pressburger is a good example, as is Valak in "The Conjuring 2" from director David Fincher. But if you're a woman who doesn't like the idea of being a nun, you're in luck.

Ida

Ida is a film about a young woman raised in a convent who plans to take her vows as a nun. However, she discovers that she is Jewish and that her parents were killed by the Nazis. Ida was a hit on the fall film festival circuit last year, and won the Best Picture award at the London Film Festival. It's now in theaters. Here's a synopsis of what makes it so good.

The title "Ida" comes from the name of the young nun who is a member of the Communist Party. As a child, Ida was placed in an orphanage in Poland, where she grew up with her sister, Anna. But as a young woman, she was rescued by an elderly nun named Wanda, who has a tragic past of her own. In addition, she is Jewish, and so her background make her the perfect character for this role.

The film is similar to "Ida" in the sense that both use amateur actors and are unrecognizably sexist. Despite this, the film works well, especially if you look at the cast. Agata Kulesza is excellent as the dissolute apparatchik, Wanda. This woman represents the rot at the heart of communism, and her character is filled with sexually aggressive behavior and alcoholism.

As a young woman raised in a convent, Ida meets a handsome young saxophonist, Lis. The pair spend their time together, where Lis suggests marriage and kids. As the film progresses, Ida learns about her aunt's past. After all, the two women are on the same journey, and it is hauntingly beautiful. If you want to see a film about the life of a nun, you should look into "Wanda," directed by Romana Siewska and written by Janet Napolitan.

Powell & Pressburger's 1947 drama

A surprisingly moving and enjoyable film, Powell & Pressburger's 1947 nun film stars a woman who has a hard time getting out of bed, a nun with a twisted sense of humor, and a priest who's a bit on the nuts. Despite its quaintly hysterical title, this isn't exactly a light-hearted romp, and it might not be the ideal movie to watch with a loved one. But this is a movie worth seeing just for Kerr's role.

The story revolves around five Anglican nuns who try to impose order in an isolated palatial complex. The palatial complex had been a former house for courtesans, and the general who donated it was thoughtful. The nuns are beset by the privations of the palace, which lies 9,000 feet above the ground. They have to deal with locals who distrust them and an unnerving local government agent.

The film's narrative has unusual rhythms and gestures. In one scene, the General, an English expatriate agent (David Farrar) announces sausages to Ayah, a cultural joke. In another scene, when Ayah tries to seduce Dean, he tells her, "I don't love anybody, and I don't love anybody." The film's gender-bending narrative gestures are a highlight of this film, and Powell & Pressburger's witty dialogue are a high point.

The art direction is superb, with the nuns wearing white habits that emphasize their other-worldliness. While the chief native characters (including Ruth and the nuns) wore brightly-coloured robes, a lot of jewels, and rich silks, the sombre costumes of the rest of the cast were more subdued. It is difficult to miss the underlying metaphysical struggle.

Audrey Hepburn's "The Nun's Story"

In the 1940s, a prominent Belgian surgeon's daughter (Dean Jagger) becomes a nun and begins to excel as a nurse. She works in the Belgian Congo with doctor Peter Finch, and the two bond. After her father is killed by the Nazis, Gabrielle must decide whether she can continue her vocation or remain neutral. After all, she has been raised to help those in need, not to be a war hero.

For the first 20 minutes, Hepburn is completely covered by her nun's habit. In fact, most of the acting occurs on her face. Her facial expressions convey an incredible amount of emotion. She begins as a quiet, positive young woman, but as life becomes more challenging, her expressions become more empathetic. The final scene is particularly moving, as the nun begins to struggle with the demands of her new religious life and her inner peace.

Despite its difficulty defining a genre, "The Nun's Story" is one of Fred Zinnemann's best films. It has earned universal praise and is often called one of his most remarkable works. It gives us a glimpse into convent life in a very personal way. Audrey Hepburn, as Sister Luke, struggles with the conflict between her vow of obedience and her religious duty to help German soldiers.

The film is a classic, a perfect example of how to make an old nun feel modern. Audrey Hepburn's charisma embodies the gamine image and can be a defining part of Hepburn's career. Whether Hepburn is playing a nun, nuns aren't supposed to be unorthodox, and it is not uncommon for a nun to be accused of being insincere.

Valak in "The Conjuring 2"

As the demon behind the hauntings in the first and second movies, Valak is a creepy nun. But unlike those creatures, Valak is not a negative entity. Rather, he uses Bill Wilkins as his vessel. While Valak is evil, he is not a negative force. He is just attempting to help Lorraine and Ed solve their mystery. Here's how Valak shows up in "The Conjuring 2"

In the first movie, Lorraine Warren meets Professor Warrens while he is delivering a lecture on possession. His lecture subject, Maurice "Frenchy" Theriault, has been possessed by Valak. Lorraine, meanwhile, encounters Valak during an exorcism. This encounter sets up a major plot point in "The Conjuring 2" and sets up the third film in the series.

The character of Valak is based on mythology and has several similarities. According to a mythological book, Valak is a child with angel wings, who rides a two-headed dragon. During filming, Valak takes on a different appearance than it does in mythology. His original appearance was inspired by Dracula and was modeled after the dreadful figure. Regardless, Valak is the demon responsible for hauntings and delivering true answers.

The demon Valak appears in both movies, though she is in a different form in each film. The second Conjuring movie features Valak as a powerful demonic being, who can assume human form. Despite this, he was almost cut from the film for some reason. James Wan has claimed in the past that the nun was replaced at the last minute for another demon. As a result, Valak's appearance in "The Conjuring" sequel was delayed to the last minute, but it has been credited to the film's success.

Meryl Streep's performance as a nun in "Doubt"

Meryl Streep's portrayal of a stern nun, Sister Aloysius, is both funny and disturbing. The performance is full of unabashed outrageousness, from the way she raises her voice to her arched eyebrows when she denies Hoffman's request for sugar. But this is Streep at her best.

The play, written by John Patrick Shanley, is a morality tale, and Meryl Streep's performance is one of the highlights of the film. Although the movie has a message, it doesn't actually make that clear. It's a morality play, but the film doesn't make it clear whose morality it's denouncing.

The film's plot revolves around a priest. The priest, played by Philip Seymour Hoffman, is a gay man who has been living in a nunnery since the 1960s. A nun, Sister Aloysius, is a nun who rationalizes her experiences and intuition. In turn, she condemns the priest for his actions.

Meryl Streep's performance is nothing short of brilliant. The actress envelops her character and disappears into it, but her performance isn't overshadowed by Hoffman's loudness. In this respect, her performance is a masterwork, a grandstanding effort and a holy power. While she does not have a full Oscar, she proves once again that she's capable of acting in any genre.

The film is a compelling drama about the role of religious authority in 1960s society. Meryl Streep, Philip Seymour Hoffman, and Viola Davis all give strong performances in the movie. The screenplay is also a strength in this film. Father Flynn, the supportive priest, is particularly well-cast. His lectures are very effective.