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While the Venetians are fighting at sea, a plague hits the city. Religious zealots take the war and plague as punishment for the city's moral degradation, and Veronica's home is quarantined and almost ransacked by a mob. Marco returns before Veronica is charged and just before Paola dies of the plague. Veronica is summoned to appear before the Inquisition on charges of witchcraft. Maffio has been made a monsignor is at the head of those against her.

Marco accuses him of having a vendetta against her. He declares that if she is guilty, then he as many is her accomplice. Veronica refuses to name her clients so, when it appears that she will be executed, Marco publicly shames the Venetian ministers and senators into admitting their own adulteries and sins by standing up in the assembly.

Bewildered by the extent of sin in the city, the Inquisitor drops the charges of witchcraft. The film opened in limited release on 20 February to mixed but mostly positive reviews, receiving a 69 percent freshness rating on the movie critics website Rotten Tomatoes. Most movies are made by males and show women enthralled by men. This movie knows better.

A stage musical version of the film premiered on July 25, at Northwestern University 's Ethel M. Barber Theatre. The musical features book and verse by Jeannine Dominy the screenwriter of the film , lyrics by Amanda McBroom , and music by Michele Brourman under the direction of Sheryl Kaller. Contents move to sidebar hide. Article Talk. Read Edit View history.

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The women who have been victimized and silenced are speaking. The fascinating thing about the myth is that it can be used in so many different ways. Even though Medusa is dead, she is still powerful. Her head is still a weapon. Left: Plaster cast of head of Medusa, after Canova , —7. Studio of Antonio Canova Italian, — Italy, Rome. Right: Cameo with head of Medusa , ca. What inspired you to do an exhibition on composite creatures? What have you enjoyed most? I was creating a video feature on the sphinx, and I suddenly realized that most of these creatures are female. I had known that before, of course, but it struck me in a different way.

He said yes, and he put an interesting limitation on it: "We'll do it as an in-house exhibition, no external loans. When I visited the Department of European Sculpture and Decorative Arts , I found objects in their storerooms that were not on display, like the plaster cast of the head of Medusa from the Canova statue [above left], and an onyx cameo with a superb head of Medusa cut in white on black [above right].

Drawings and Prints helped me find other representations. It was lovely to go in to other departments and discuss the exhibition with my colleagues and see how we could take advantage of this encyclopedic collection to do something different. Were there any objects in The Met's Greek and Roman collection that had been overlooked and are now in the exhibition? I've incorporated many objects from our storeroom and the Greek and Roman department's study collection. The study collection is a big space on the mezzanine, filled with glass cases overflowing with objects. So now these artworks are on display right next door, and they are presented in a different context. Instead of being lost among other objects, you can see them more clearly.

The exhibition is an otherworldly oasis in the middle of the Museum. How did you achieve that? What moments in the design and planning process were a high point for you? The exhibition designer was Fabiana Weinberg, and we had a wonderful collaboration. As a curator, you have your checklist of objects you would ideally like to include. Most of the time, the designer's first reaction is, "Too much!

You have to cut it down! I wanted to include the most important pieces, of course, but I was flexible about others, because we had to make choices. It was a small-budget show, so we had to use existing display cases. We were working with limitations, which is always interesting! We had these specific cases, and we could fit X number of objects according to their dimensions.

We had to play around a lot. One of the challenges we faced was that this is not a show about Medusa alone. More than half the objects depict Medusa, but it's also about Scylla, the sirens, and the sphinx. How do we create balance? My idea was to divide the room along a diagonal, so that the opening section is Medusa, and the others are farther away. Each composite creature has its own space. Fabiana accommodated my ideas to a large extent, and I also listened to her keen observations from a design point of view. For example, Fabiana suggested creating fabric-wrapped panels for mounting the prints and displaying the gallery introductory text.

They look beautiful together! I wanted to make music part of the story to add a fourth dimension to the show. Music has been played in the Museum many times as a background for the Costume Institute 's exhibitions, as in Heavenly Bodies. There is also that song—"Turn to Stone. Of course, I would never have used that music. I wanted something different—not a familiar piece, but an instrumental soundscape that would narrate the theme in musical terms—and I preferred something original.

He liked the concept very much. So we collaborated. I'd been looking around on the web to find pieces that I liked. We'd meet to talk about the show, the main ideas. Then we would listen to the music he'd written and refine it further. At one point, we were wondering how to represent the sphinx. I wanted it to be something playful, but what kind of instrument were we going to use? That was challenging. A few days later, in doing research for the Bulletin , I found out that the first usage of the word "siren" in English was for a foghorn. So I said, why don't we use a foghorn?

The idea was to create themes that evoke their transformations. I think the soundscape does this well. Even when the music is serene, there's this sinister undertone. Originally, there were a lot of screeching noises, but I wanted it to be melodic too. So we altered it a bit. Austin plays it all on his synthesizer, except for one passage, the cacophonous one, where one of his friends performed live cello. It was a great collaboration. Austin did three passes, three edits, and then we had three sound tests in the gallery. We put pauses between the themes to scare people a little! When the gallery is empty, the music is audible. But when it's crowded, you really have to listen for the music. It creates an atmosphere. The exhibition has been inspirational for audiences of all ages.

Recently, our MetKids team held a special children's event where the kids created video animations about composite monsters. One of the kids made a brilliant animation—. Did any of their questions stand out for you? Their focus was the sphinx. I asked them about the riddle. They enacted the riddle, but they did it backwards! They wanted to ask the sphinx the riddle, instead of the other way around. Any ideas for your next exhibition? Will it grow out of this one, or be a complete departure? I have other ideas. But this is also a topic we can do more with. I'm thinking about radical women, untamed women. They've been done. Not much survives. Everyone focuses on Dionysus, god of wine, but I don't think there's been an exhibition on maenads outside of Athens.

So, an exhibition on maenads and famous radical women and outsiders. Medea was an outsider. Curator Kiki Karoglou in the exhibition gallery. I have to say, Medea—and all those women you mention—had really good reasons to be radically mad. You know, it's true! I do say that in the Bulletin too. We also have the Thracian women killing Orpheus. But do we really want to have a show about so many murders? It's kind of dark. And then we have the virgin sacrifices, where young maidens are sacrificed to the gods so that the polis, the city-state, can survive.

We welcome your participation! Please note that while lively discussion and strong opinions are encouraged, the Museum reserves the right to delete comments that it deems inappropriate for any reason.

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