Little Hours Nude
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Little Hours Nude
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Giovanni Boccaccio (based on "The Decameron" by) Jeff Baena (written for the screen by)
Giovanni Boccaccio (based on "The Decameron" by) Jeff Baena (written for the screen by)
'The Little Hours' Director Jeff Baena Talks Challenges of Filming Overseas
14th Century Nuns Get Frisky in 'The Little Hours'
Giovanni Boccaccio (based on "The Decameron" by) Jeff Baena (written for the screen by)
Writer and director Jeff Baena only wrote a detailed outline for the film, which was loosely based on "The Decameron". The cast improvised their dialogue.
A Poste Masse Performed by La Reverdie Courtesy of Arcana Records
EVERYONE in this movie has is repressing their 'dressed roles' and desires an alternate life. Little Hours is more than the antics of foul mouthed nun trio. It is a modern comedy set in 13th century. And what a refreshing modern comedy it is. The charm of the humour in the movie is that the situations everyone find themselves in. The comedy is less about what is actually being said but the extreme hypocrisy of what we preach against our true desires. Events mostly take place at a convent but religion is never the central message. Little Hours rather exposes crudity of humanity under the neat veils & robes. None of the acting is really Oscar worthy; they appear almost amateur-like and that is part of the charm. Music in simple and un-intrusive. Story is straight forward but contains pleasant surprises. Little Hours is not, and probably not intended to be, for general audience. If you like Lost in Translation, Life Aquatic, Nacho Libre, etc., you will love this movie. If you are offended by the religious contents (or lack thereof) in this movie, I recommend watching 'Spotlight' first.
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In the Middle Ages, a young servant fleeing from his master takes refuge at a convent full of emotionally unstable nuns. Introduced as a deaf mute man, he must fight to hold his cover as the... Read all In the Middle Ages, a young servant fleeing from his master takes refuge at a convent full of emotionally unstable nuns. Introduced as a deaf mute man, he must fight to hold his cover as the nuns try to resist temptation. In the Middle Ages, a young servant fleeing from his master takes refuge at a convent full of emotionally unstable nuns. Introduced as a deaf mute man, he must fight to hold his cover as the nuns try to resist temptation.
Massetto : [Warning. Potential Spoilers Ahead] Here are my sins. I have slept with another man's wife. He's a nobleman, and he is my master.
Father Tommasso : Well, that's adultery.
Father Tommasso : It's a very serious sin.
Massetto : Sometimes... she would place her mouth around my sex.
Father Tommasso : Well, that's sodomy. It's also a serious sin.
Massetto : Is it also considered sodomy if... if I placed my mouth on her sex while... she simultaneously had... had her mouth around mine?
Father Tommasso : Why would you do that?
Massetto : Because, she... she liked it.
Father Tommasso : Oh. Well, yes, that's also sodomy.
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“The Little Hours” writer and director Jeff Baena joined castmembers Molly Shannon, Alison Brie, Kate Micucci, Dave Franco, Aubrey Plaza in the Variety Studio at the Sundance Film Festival…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
“The Little Hours” writer and director Jeff Baena joined castmembers Molly Shannon, Alison Brie, Kate Micucci, Dave Franco, Aubrey Plaza in the Variety Studio at the Sundance Film Festival, presented by Orville Redenbacher’s.
In this clip they talk about potential upsides to being nuns in real life, and Franco shares what made his sex scene in the film unique.
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The first trailer for "The Little Hours" dropped today and it is definitely NSFW. Definitely put earmuffs on any innocent souls, because Alison Brie and Aubrey Plaza play foul-mouthed uper raunchy nuns who roll their eyes when a priest lists their sins of "filthy conversation, lustfulness, homosexuality."
The humor mostly seems to derive from the juxtaposition of the religious setting with the profane language. When a local farmer bids the sisters a good morning, Plaza shoots back, "Don't f---ing talk to us!" Dave Franco also stars as a hired hand who's hiding out from a local lord (Nick Offerman), after sleeping with his wife. The highly inappropriate nuns soon begin harassing him and he has to scramble to keep up his disguise as mute and deaf.
"The Little Hours" features quite a few of Hollywood's comedic talent, including Fred Armisen, Molly Shannon, John C. Reilly, and Adam Pally. The movie opens in select theaters on June 30.
Garfagnana, Italy, 1347. The handsome servant Masseto, fleeing from his vindictive master, takes shelter in a nunnery where three young nuns, Sister Alessandra,... Read the Plot
Kelly Woo is a writer and editor living in Brooklyn, New York. She graduated from Duke University and has written for AOL, Entertainment Weekly, Variety, and Yahoo.
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In the first story told on the third day of Boccaccio's "The Decameron," a young guy named Massetto pretends to be a deaf-mute laborer so that he can work at a nearby convent, a convent filled with—as rumor has it—horny nuns. Before he can even settle in, he is besieged by voracious nuns, each of whom he services, one after the other after the other, until finally the envious abbess herself comes a-callin'. This story is the basis for Jeff Baena ’s "The Little Hours," a riotous medieval-era sex romp played with lunatic conviction by a great cast. Everyone wears period garb, the settings are period accurate, and yet the behavior and the language is to-the-minute contemporary.
The opening sequence is like " Mean Girls ," the Dark Ages years, with three bitchy nuns—Alessandra ( Alison Brie ), Genevra ( Kate Micucci ), and Fernanda ( Aubrey Plaza , who also produced the film)—eye-rolling over laundry duties, snarking at one another, screaming "You fucking pervert!" at a leering handyman. Sister Marea ( Molly Shannon ) and Father Tommasso ( John C. Reilly ) run the convent—barely—and into this hothouse cloister comes Massetto ( Dave Franco ), a young guy on the run. Massetto fled his former situation because he was sleeping with the mistress of the house (a brilliantly deadpan Lauren Weedman ), and the affair was discovered by her warrior husband ( Nick Offerman ), a violent man who rants so obsessively about "the Guelphs" that even the chainmail-wearing guards (one of whom is played by Adam Pally , a funny sight in and of itself) roll their eyes. After Massetto and Father Tommasso meet by chance in the forest, Tommasso—always slightly intoxicated—offers Massetto safe harbor at the convent, but only if Massetto pretends he is a deaf mute.
Massetto does his best to keep up with his new gardening tasks, but it's not easy when nun after nun barges into his personal space. Introducing a man into a mostly-female environment throws everything out of whack (shades of " The Beguiled "). Franco is perfect for this material. He's handsome but with a goofball soul. The grin that freezes on his face when some nun grinds into his pelvis shows both terror and arousal, simultaneously. The actors are a vaudeville troupe of broad types, played to the hilt. Reilly's face, as he hears Massetto's X-rated confession one night, is a perfect example of how listening is equally as important in acting as talking. Franco is hilarious in that confession scene, but the way Reilly listens is what brings the joke home. Brie—a truly gifted actress—plays a ladylike young woman, until the habit comes off and she discovers what she had been missing out on all these years. Plaza and Micucci's characters are like middle-school tweens, Plaza the ruthless Queen Bee and Micucci the groveling sycophant. Micucci, who was so funny and sweet in " Don't Think Twice ," has an extended scene late in the game where she reaches almost a Madeline Kahn level of physical and emotional comedy. Humphrey Bogart said that good acting was "six feet back" in the eyes. That applies here, too. On the page, that scene might not have seemed all that funny. In Micucci's hands, it is riotous to the point of lunacy.
What could have been—in less confident hands—a one-joke sketch becomes, instead, a consistently wacko screwball. Baena knows (like Boccaccio knew) that the main thing—Nuns Gone Wild—is funny. The three extremely funny actresses go to town with all of the possibilities. But Baena also gets that smaller moments of humor act as glue to keep the whole thing together. He is sensitive to the comedic possibilities in a glance, a pause, a visual. Perhaps most strikingly, Baena has a fine-tuned sense of the absurd. There's a bit with a turtle walking slowly by a doorway that is such a quiet little moment, really, but it has an enormous comedic impact.
Everyone in "The Little Hours" is dealing with enormous and urgent needs. No one is having enough sex. And
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