Agnes (Brigitte Bardot) is the nun who follows the order to the beach for a swim in the ocean. They shed their habits to reveal bathing suits worn underneath the robes. After swimming away from the group, Agnes is fortunate enough to find some perfectly fitting mod garb complete with accessories. A motor bike is also conveniently left for her to use, and she takes off on an adventurous romp. After wrecking the bike, she is taken into custody by the police and meets Lisa (Annie Girardot), a fun-loving hooker. Agnes tries to live the life of a prostitute but fails to make the erotic connection. After Lisa saves the nun from a group of drunken American sailors, Agnes takes a job riding in an ambulance, and Lisa uses the vehicle for a bordello on wheels. Eventually, a doctor (Jacques Duby) recognizes Agnes as a nun when she comes to him as a potential sex customer. After delivering a pregnant women to the hospital, Agnes and Lisa swim back to the group of nuns, don habits and blend back into the religious order.

该剧通过展现才华出众的男子的伟大且美丽的挑战、爱情、苦难与希望，来反思当今的现实生活，以及在21世纪的科学文明时代仍留有神秘领域的命理学。由《…

一次惊险的偷渡之行，一场宿命般的献祭，两个游走于边缘的人，是为生，或为死。

一次惊险的偷渡之行，一场宿命般的献祭，两个游走于边缘的人，是为生，或为死。

A man becomes a suspect in a serial murder case after waking from a coma with no recollection of who he is

A man becomes a suspect in a serial murder case after waking from a coma with no recollection of who he is

This dark, brooding tale about inheritance and forbidden passion is set in a rambling English country home and stars an impressive Stewart Granger as a maverick estate manager. Granger is pitted against the best that British melodrama had to offer at the time, including Valerie Hobson in the title role, Maurice Denham and Michael Gough. The late 1940s saw many examples of this type of movie, set against a backdrop of tall iron gates, with stooped retainers and timely thunderstorms. It also has the benefit of an excellent screenplay and some taut direction from Marc Allégret. Yet it's the distinctive atmosphere that lingers in the memory.

朝圣者在日食之时来到神秘的大教堂门外。 　　拄着手杖，他洞开可教堂的大门。教堂里充满诡异且压抑的气氛，两旁林立着枯槁的神像。神像的脸追随着朝圣者的步伐转动，朝圣者穿过神像，来到悬崖边上。 　　这时日食过去，阳光透过林立的枯槁神像射向朝圣者。那光芒明亮耀眼，直刺向朝圣者的胸膛。

在意大利恐怖电影中，可能再也找不到比米歇尔·索伊的作品影响更广、承继更多的了，他的作品能保证意大利恐怖电影在下个千年仍有一席之地。本片是对神怪电影颇有价值的补充，同样也是意大利电影哥特式风格的回归。影片开始是一个发生在过去的序幕，圣殿骑士长惩罚犯有巫术罪的村民，并在埋葬他们尸体的大坑上建造了一所教堂。之后故事跳到现今，一位历史学家发现了教堂的秘密，受害者的灵魂开始操控他，对抗教会和世人。

在意大利恐怖电影中，可能再也找不到比米歇尔·索伊的作品影响更广、承继更多的了，他的作品能保证意大利恐怖电影在下个千年仍有一席之地。本片是对神怪电影颇有价值的补充，同样也是意大利电影哥特式风格的回归。影片开始是一个发生在过去的序幕，圣殿骑士长惩罚犯有巫术罪的村民，并在埋葬他们尸体的大坑上建造了一所教堂。之后故事跳到现今，一位历史学家发现了教堂的秘密，受害者的灵魂开始操控他，对抗教会和世人。