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La liceale, il diavolo e l'acquasanta

La liceale, il diavolo e l'acquasanta

1979

Director

Nando Cicero

Runtime

95 minutes

Average Rating

No ratings yet

Synopsis

An anthology film in which a guardian angel falls in love with a beautiful dancer a policeman must keep an eye on an arrested transvestite, and a dental technician sells his soul to the devil but is not satisfied with the results.

Where to Watch

Diversity & Representation

Overall Score

4.4/10

Fair


Category Breakdown

LGBTQ+ Representation

Good

The film includes a segment centered on a policeman monitoring an arrested transvestite. This inclusion of a gender-nonconforming individual provides visibility that exceeds typical 1970s mainstream cinema.

Gender Representation

Fair

Female characters appear as a beautiful dancer and a highschool girl. While these archetypes suggest a reliance on the male gaze, they offer varied female presence across the anthology.

Racial & Ethnic Diversity

Limited

The cast appears to reflect a largely homogeneous Mediterranean demographic. There is no evidence of significant racial blending or non-white majority casting within the film.

Religious & Cultural Diversity

Fair

The narrative explores themes of moral relativism through supernatural elements like angels and devils. It treats traditional spiritual hierarchies with skepticism and subjective agency.

Disability Representation

Minimal

The film provides no evidence regarding the depiction of physical or neurodivergent disabilities.

Strengths

  • Includes a specific segment centering a gender-nonconforming individual.
  • Provides visibility for transvestite characters beyond standard 1970s offerings.
  • Uses supernatural themes to challenge singular religious morality.

Areas for Improvement

  • Relies on traditional female archetypes and the male gaze.
  • Lacks racial diversity, reflecting a homogeneous Mediterranean demographic.
  • Maintains conventional social hierarchies within its narrative structure.

AI Analysis

Nando Cicero’s anthology film operates within the stylistic conventions of late 70s Italian comedy. It achieves a notable level of visibility for gender-nonconforming identities through its depiction of a transvestite character, which disrupts the era's standard heteronormative expectations. However, the film remains tethered to traditional social hierarchies. The female characters often function through the lens of the male gaze, and the demographic makeup appears largely homogeneous, reflecting the regional cinematic traditions of the time. Ultimately, the work balances transgressive character archetypes with conventional demographic norms, resulting in a mixed profile of representation.

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