Those who enjoyed Confessionsof a SinfulNun will find plenty to love in Ricky Greenwood’s dramatic sequel. The writer/director takes a slow-burn approach in this drama, allowing sexual tension and hidden emotions to simmer quietly until things end in a rolling boil.

Confessions was Greenwood’s directorial debut, and the Sweetheart Video helmsman returns to his pet subject—nunsploitation—after honing his skills in several other features, and the seasoning shows in the confident way he directs both the dialog scenes and the visual storytelling.

The central character, Sister Charlotte, finds herself at a turning point as she cares for the ailing Mother Superior (Nina Hartley), who is facing intervention from the diocese for her unorthodox oversight of the convent. “The world outside is so dangerous for women. Here we can be free,” she tells Charlotte. But there will be even bigger changes in store for Sister Mona (Mona Wales), who is being punished for her love affair relationship with the Mother Superior by the new nun in charge, Mother Joan (Magdalene St. Michaels). Mother Joan tells Mona, “I will not see my convent become a Babylon,” and proceeds to punctuate her argument by making Sister Mary (Serene Siren) strip the terrified Mona so that she can prepare for the lash.

But before that happens, we’re transported back to the idyllic side of Charlotte’s convent, where Sisters Gabrielle and Veronica (Cassidy Banks and Lena Paul) embrace temptation with verve in an outdoor scene that leaves them naked, breasts pressed together, using their habits like picnic blankets on the convent’s lawn.

The action cuts back to Mona, lying face down under a sheet. Joan demands she keep reciting words of penance as the sheet is lifted and the whip begins to score her body. Mother Joan wears a mask of determination as she metes out the prescribed punishment. “I’m saving you from vice,” Mother Joan tells Mona. “Reminding you that your body is not a vessel for pleasure.”

There are enough surprises in this movie that a full plot synopsis would not serve the greater good. Let it suffice to mention a few standouts: St. Michaels’ dogged portrayal of Mother Joan, who falters only because of a finally requited love for the Mother Superior; Serene Siren as Sister Mary, who shows her astonishing flexibility in a searing scene with Sister Mona; and the entire crew for their skilled work at bringing Greenwood’s fantasies to life. Extra credit goes to cinematographers James Avalon and Matt Holder: As these nuns slowly cover and uncover their bodies, the camera fetishizes each accouterment with the same care usually lavished on stiletto heels and lacy lingerie. It makes for an unusual and evocative sensual experience.