The figure of the nun has proven to be cinematic kryptonite from the classic (Black Narcissus) to the experimental (The Devils), the austere (The Nun) to the exploitative (Killer Nun). That the iconography of the nun figure can act as a conduit to explore sexual repression, spirituality and discipline also makes it ripe for the horror genre.

Paul Hyett’s period drama cum supernatural nun zombie horror does not deserve its place in the nun canon. Its first mistake is taking itself too seriously – the cinematography is lifeless and drab, as opposed to taking advantage of the austere, gothic-style convent, and this gloomy palette only draws attention to the overly earnest acting and constantly distressed enunciation of each word of Hyett and Conal Palmer’s script.

Set in the 17th century, Persephone (named after the Queen of the Underworld in Greek Mythology, played by Hannah Arterton) is accused of being a witch, but saved from damnation by Mother Superior (Hellraiser veteran Clare Higgins, whose appearance can’t even save this film) and then chastised for not bearing the name of a saint. Her lack of discipline is constantly tested by the convent, who frequently punishes her, confining her within the maze-like basement walls of the convent in utter darkness, isolating her from the other girls. The darkness of the majority of scenes is all-consuming, and the sounds of the undead figure that haunts the convent is revealed in its glory far too soon to justify any scares.

Instead of an air of hysteria that builds, the film runs through the motions – possessions occur, one by one a girl gouges out her own eyeballs. The Mother Superior unsurprisingly forbids anyone to leave, leading to a revelation that the demonic spectre is the ghost of a nun who was given up for sacrifice to the devil during a ritual, with the Satanic figure showing up literally in a ridiculous cloud of smoke, horns and all.

Hyett previously worked as a special effects artist, so it is surprising to consider how amateur the makeup and effects are. One scene seems to only use coloured contact lenses to signal the change from “nun” to “possessed demonic nun”.

Heretiks is two different films. The first half, a film that attempts to conjure up the same atmosphere of Robert Egger’s The Witch, without any of the skillful use of shadows, darkness and suspense to facilitate dread. The second half wants to be a Hammer-style campfest, completely confusing the tone. The film’s setting fails to evoke the same type of English rural folk horror (of The Wicker Man or Blood on Satan’s Claw) that it promises, instead wanting the audience to take it seriously when it can’t even take itself seriously.

HERETIKS / DIRECTOR: PAUL HYETT / SCREENPLAY: GREGORY BLAIR, PAUL HYETT, CONAL PALMER / STARRING: MICHAEL IRONSIDE, ROSIE DAY, HANNAH ARTERTON / CERT: TBC / RELEASE DATE: TBC