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Immaculate Ending Explained: Rock-A-Bye, Baby – SlashFilm

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Even though Cecilia is finally able to escape the catacombs into the woods outside, her body can’t get much further without expelling the being that it’s been growing for the past nine months. In a long, unbroken take, Cecilia screams with a mixture of pain and indignant rage as the child finally emerges, flopping wetly on the ground. Mohan makes sure never to fully reveal the baby, and we only hear its unsettling, sickly breathing; in this manner, the child is treated as a combination of the abhorrent babies from “Rosemary’s Baby” and David Lynch’s “Eraserhead.”

As Cecilia limps away from the baby, it seems that she might be simply abandoning it to the elements, focusing more on her own escape and safety. Yet she’s finished working for what is allegedly God’s will, and is now following her own: she picks up a large rock, and limps back toward the baby with it. Just as Cain used such an instrument on his brother Abel, Cecilia brings the weight of the rock down on this creature with a sickening squelch.

It’s not revealed what the ultimate fate of Cecilia becomes, nor what happens to the rest of the nuns and other back at the convent. That’s because “Immaculate” isn’t necessarily the story of an insidious conspiracy to manufacture a cypher of a savior, but it’s the story of a young woman who comes to claim her own autonomy and her own agency, being able to make her own choices instead of having them dictated or foisted upon her. As we see time and again in so many ways, fanaticism is a disease that dictates to those who are in thrall to it to reject individuality and demand others’ fidelity. 

True faith only exists when it is willfully chosen, and when it does not punish inquiry, criticism, and the changing of minds. This is necessary because, for all of life’s nuances, Good and Evil do exist in the world, and sometimes the Devil disguises itself as a being of light. To quote a cinematic depiction of a knight of the Crusade, you must choose wisely.

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