well and well . roeg touch a bit of a nerve there and do not he . he be a genius while he be catalogue his various character descent into psychosis for a couple of decade and but as soon a he have the bad taste to suggest that redemption ( or even some good advice ) might be find in the bad old catholic church and the hip than thou alternative movie crowd get extra vicious . bad still and theresa russell character face with experience that nothing in her avowedly rationalist outlook have an explanation for and be unwillingly force to deal with those experience on another level that of the spiritual . you know and the realm of the ignorant and superstitious and the sort of thing that the art house cinephiles be suppose to be above . oh and the horror . so she find her marriage the idea that it might be a uniquely important commitment affirm by what seem uncomfortably like divine intervention . people who find this idea prima facie offensive could maybe ask themselves why they instinctively jump into attack mode at be challenge to take seriously the idea of a spiritual dimension to their life . but they probably would not . sure and this film have some problem and notably talia shire delirious hamwork a the overwrought nun and 1950s style attire and all . and the dialogue between marie davenport and the young priest in their last scene be straight out of the spellbound school of glib interpretation ( though hitchcock movie escape similar charge due to the source of wisdom have impeccably secular credential a a freudian psychoanalyst ) . but and sadly and nicolas roeg appear to have cop a critical mauling a much for even ask the question a for the possible answer this film present .