The Little Hours

In a sun‑bleached corner of 14th‑century Italy, a cloistered convent becomes a stage for idle longing. The three sisters—Alessandra, Fernanda and Ginevra—are bound by vows that feel as heavy as the woolen habits they wear, yet their days are filled with restless chatter, petty disputes, and an ever‑present yearning for something beyond the stone walls. The convent’s austere routine is punctuated by the occasional absurdity of medieval life, from a stubborn donkey to a groundskeeper who never quite knows when to stay silent.

Into this cloister steps Massetto, a striking new servant who claims to be deaf and mute. His arrival injects a fresh, chaotic energy that awakens the sisters’ hidden impulses. The contrast between his quiet façade and the convent’s suppressed passions creates a simmering tension, hinting at mischief without revealing any of the ensuing antics. It is an invitation to explore desire, rebellion, and the absurdity of trying to keep propriety intact.

Beyond the convent’s gates, the world continues its own tangled dance. Father Tommasso oversees the daily affairs with a weary sense of duty, while the nearby castle houses Lord Bruno and his sharp‑tongued wife Francesca, whose own private intrigues echo the convent’s inner unrest. Even the Bishop makes periodic visits, his presence a reminder that the sacred and the secular are constantly brushing shoulders in this off‑kilter medieval tableau.

The film balances raunchy comedy with whimsical period detail, letting the anachronistic humor play against the stark, stone‑washed backdrop. Its tone is both irreverent and affectionate, painting a picture of a world where cloistered life and worldly temptation collide in a riotous, yet oddly tender, celebration of human folly.

Last Updated: August 10, 2025 at 03:13