[…] From a look at Wolfszahn’s personal website, Crocodilopolis, Mother Superior is her first feature-length project, but not her first time in the director’s chair. Within a few minutes of watching the film, even if you didn’t look at her sight, her experience with the camera and storytelling is apparent. The opening sequence serves as both credits and foundation-setting, the camera panning across a desk with newspaper clippings, cassette tapes, and documents that provide a little insight into the world of the film and, on almost each one is the name and title of an individual who worked on the project. This does translate to a lot of information to take in (especially if German is not your native tongue) but Wolfszhan isn’t interested in wasting time, therefore her film doesn’t hold your hand. You either keep up or get out of the way. This isn’t just the opening. It’s the whole film which moves at a solid speed from start to finish, uninterested in whatever you think Mother Superior is about (which is a lot) and laser-focused on getting to the end. […]