Under the direction of Stefano Mordini, Eduardo Albinati’s novel La Scuola Cattolica resurfaces and is brought to life on the big screen. The film tells a disturbing story set in 1975, centered on the horrifying Circeo Massacre—an act of extreme violence against women that led to significant societal and legal changes in Italy. Most notably, this crime mobilized the reclassification of rape in 1996 as a crime against the person rather than against public morality.
The film, in its complexity, serves as a sociological case study of male education under the influence of Catholic doctrines of sin and punishment. While its primary focus is on the Italian bourgeoisie, the interplay between various social classes deepens the exploration of interpersonal relationships—whether platonic, familial, romantic, or purely sexual. The narrative is far from linear; the concept of time takes on an almost abstract quality, especially during the section dedicated to the massacre. This fluctuating tension adds intricacy to the story. In this context, it is worth noting Mordini’s deliberate approach: he made it clear that his goal was neither to sensationalize nor romanticize the abuse depicted. Instead, he maintained what he called „a respectful distance of the camera,” aiming to honor the pain without exploiting it.
From the beginning, a sense of tragedy and restlessness prevails the film. This is reflected in the sterile, almost oppressive architecture of the Catholic school and the atmosphere of impending doom created by its religious setting. The choreographed movements in certain scenes, the obsession for musicality coinciding with the points of extreme tension, and the interplay between light and shadow consolidate the film and the director’s vision into a coherent piece of art. Moreover, only the final portion of the movie explicitly focuses on the acts of violence against the two female characters, Donatella and Rosaria. Leading up to this, the film delves into a complex analysis of the male characters and the contexts of their lives and education. Brotherhood, the pursuit of manhood, and the desire for acceptance become the driving forces behind their actions, leading them away from both their personal moral compasses and the religious values they were taught.
At the film’s start, the camera subtly captures moments of physical abuse from a father figure toward one of the young boys who later becomes a perpetrator. As the narrative progresses, it explores a universal fascination with violence, physicality, and its connection to eroticism. This theme culminates in a powerful scene where students analyze a painting depicting Jesus being beaten, only for D’Avenia to be beaten by his classmates in a similar fashion, which triggers his arousal.
Due to strict religious rules surrounding abstinence, the young boys are taught to fear their own sexuality while simultaneously becoming obsessed with it. Their limited interactions with women in organized settings, restricted to encounters outside the school environment, foster an almost predatory behavior. A disturbing combination of violence, sex, and maternal figures further sustains this. One example is a scene where a student engages with a prostitute, who attempts to penetrate his bellybutton, symbolizing an umbilical connection. Similarly, Pick’s fixation on both killing his mother and being drawn to her sensuality highlights the relationship between maternal influence and sexuality. These repressed desires and confusions, including uncertainty about sexual orientation, fuel the boys’ toxic masculinity and distorted perspectives of women. The cycle of verbal, physical, and emotional aggression ultimately turns the victims of abuse into abusers themselves.
This film should be watched by everyone, regardless of gender. It offers a profound understanding of the systemic and ideological flaws within education that can perpetuate violence and lead to tragedy. It serves as a poignant reminder of the enduring relevance of these issues, inviting viewers to reflect on the nature of evil, the roles of victim and oppressor, and how, ultimately, everyone can become a victim of something greater than themselves— something that demands change.
Written by Chis Iulia-Maria — 11/4/2025