The Nun II continues the horrifying narrative that began with The Nun. Set against the backdrop of 1956 France, where darkness and malevolence are on the rise, the sequel begins with the murder of a priest, signaling the resurgence of evil forces. Sister Irene, portrayed once again by Taissa Farmiga, finds herself drawn back into a harrowing battle against Valak, the demon nun.
The terrifying film sees the return of several key characters, including Jonas Bloquet as Maurice, who also appeared in the original The Nun. Joining the cast are Storm Reid as Sister Debra, Anna Popplewell as Kate, and Bonnie Aarons reprising her role as the chilling Valak. This combination of returning and new talent ensures that the sequel maintains continuity while offering fresh perspectives on the terrifying events unfolding within the Conjuring Universe.
Reel 360 News had a chance to ask Taissa some questions about her latest battle with Valak.
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Wait a minute, Taissa! We thought you defeated Valak. What was it about this script that brought you back?
What I really loved about the script is the beautiful partnership and friendship between these two empowered female characters. Storm [Reid] plays Sister Debra, a young woman who doesn’t know her place in this world, so she feels like she’s lost. And what’s so beautiful is that the layers that are written into these characters give an opportunity to play real people. I think it was such a collaborative effort from the very beginning to make sure the characters were real and had true distinct colors and layers.
Tropes are not real people. So, I think it was beautiful in the script to be able to play a young woman who’s confident and knows what she’s doing and doesn’t need somebody to tell her what to do. And not only do you have that with Sister Irene, but you also have that with Sister Debra.”
How was it filming in France?
It’s an extremely special thing to be able to film on location where the story is actually set. And we have been lucky enough to be here in the South of France, in Aix-en-Provence, in Tarascon, Martigues and Marseille… an out-of-this-world experience.
I think that you’re obviously going to give the expected dark and haunted feel, but they’re also juxtaposed with these beautiful landscapes and countryside. I think that being able to film in real tangible locations, there’s an energy that sometimes is hard to recreate on stages.
We were able to find, even in beautiful Southern France, locations that give us that grit and that eerie feel. Aix-en-Provence, which seems like such a sweet city, we found this school that the art department were able to transform.
It’s hard because you transform—you’re also using what’s already there, but enhancing the feeling of this old, rundown abbey and turning it into a school, but not freshening it up. It’s just the balance of it… I think that we’re lucky to be able to have the location and such a talented crew and art department to make our sets look so hauntingly beautiful.”
The Nun II is a period piece set in the 1950s. Did you feel like you were time-traveling?
I absolutely felt like we were immersed in the ‘50s in France, especially filming in these little side streets in Tarascon. The alleyways are small and compact, so the crew’s all kind of tucked away to one side. And when they call ‘action,’ all it is, is people in their costumes running by. And everything’s just set up so beautifully—it’s lit beautifully, and the level of smoke is perfect, and it just creates the perfect atmosphere.
And yeah, for me, it’s fun, because Sister Irene has taken her vows in the last movie. She’s officially a nun. She’s got her nun garb on. And that’s what she does. But it’s fun to be around and see the outfits of everybody else and really be transported back in time.”
We thought Michael Chaves did an amazing job. What was it like working with him?
Michael Chaves is a wonderful, wonderful director. When I found out he was doing this, I was very excited. I’d read the script, and then we’d all hopped on a Zoom. And from the first moment we had spoken, he was very open to wanting to make the best project possible.
It’s the collaboration which is something I really respond to. I’m not someone who’s very forward—I don’t put my foot down and say, ‘This is the way things need to be.’ I love working with people who also are open to collaboration. I think that’s one of Chaves’ biggest strengths as a director. He’s also direct. He doesn’t like to waste time, which is appreciated. He has a really good sense of awareness of the present moment, as well as the big picture, which I feel, especially in these films, is so important. I find that he really valued his crew’s opinion.
He values the opinion of his actors and our insights into the characters, and he gives us the freedom to come to him and say, ‘Hey, this line, I think it needs a tweak. It doesn’t feel right, it doesn’t say it…’ He’s quick to be like, ‘How do you feel about that?’ That collaboration, especially with a character that I spent so much time with… years ago filming, then talking about her in the press, then seeing the movie and coming back again. There was a respect for Sister Irene: how do we portray her accurately, and how do we do it together? I really just love working with Chaves. He’s a good person, a great director.”
It’s been four years since The Nun. How have your characters changed?
I feel like denial is a wonderfully terrible tool that a lot of people use, and I definitely think that Irene sort of held on to the expression ‘out of sight, out of mind.’ I think deep down, Irene knew that this couldn’t just be it. The connection was too strong. I think Irene also is someone who probably always questions, ‘Is she good enough?’ She’s come to accept her gifts to a degree. But she was tasked with this enormous thing—to banish a demon. I think absolutely part of her has been terrified every day of these past years that she didn’t accomplish what she was supposed to.
It’s been four years since the first film. Irene and Frenchie have definitely gotten older. They’re a bit more weathered. I would say that they both come back with a strong sense of self in this movie. There’s definitely maturity when you go through something so traumatic. I feel like you either push forward or you kind of recede into yourself.
I think Irene had to push forward in the same way that Frenchie did. Irene in the first film, there was a lot of questioning and uncertainty of how she fits into the world. I think when we first meet Irene in this movie, she’s much stronger—there is an aura of confidence around her. She’s still just as kind and sweet as she was in the first movie, but she’s lost her naiveté.”
REELated:
In this sequel, Sister Irene teams up with Sister Debra.
Irene first says no, and then her visions tell her that she has to do this, and she knows in her heart she has to go for it. She’s scared and terrified to do it alone, but she’s someone who wants to do the right thing. She sets off on this journey alone. I think that having someone like Sister Debra—who is not quick to do what she’s told—is actually very beneficial to have in a partner. It’s a work mission, but also just a friend along the way to be like, ‘I don’t know if I’m doing the right thing.’ It’s hard to tackle anything in life alone.
When I first read the script, I was most excited about the female friendship story and the dynamic between Sister Irene and Sister Debra. Getting to work with Storm has just been fabulous. I feel like she brings such fearlessness to Debra. I think that young female characters especially can be written a bit passive or looking to others for guidance.
I think Storm plays Debra with a strength that is captivating and nuanced. She’s a true collaborator, a partner who just is so willing to be in it for your coverage, a true partner in crime… or in this case, not a crime, because we’re the holy do-gooders!”
What was it like working with Jonas Bloquet?
I love that dude. Everybody loves Frenchie. He is our beloved French Canadian. He infuses such charm into every ounce of this character, and he also gives him such a sense of humanity. And I think that the audience is really going to love seeing Maurice in this new light, especially through the beautiful connection he has with Kate [played by Anna Popplewell] and Sophie [played by Katelyn Rose Downey], whom you meet at St. Mary’s. I love working with Jonas.
We always have the best time. He’s a wonderful singer and dancer. It’s so fun to see him shimmying down St. Mary’s hallway and just singing and dancing in-between takes. So, it’s been a blast. It’s been way too much fun, honestly.”
The Conjuring Universe is the highest-grossing horror franchise in history with $2+ billion worldwide. Globally, four of The Conjuring Universe titles have earned more than $300 million worldwide each (The Nun, $366 million; The Conjuring 2, $322 million; The Conjuring, $320 million; Annabelle: Creation, $307 million), and all seven have each grossed more than $200 million. The Nun is the top-earning film in the franchise, with more than $366 million worldwide.
The Nun II is currently in theaters scaring up lots of money!
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