In French provocateur Bruno Dumont’s follow up to his heavy-metal musical Jeannette: The Childhood of Joan of Arc (2017), ten-year-old Lise Leplat Prudhomme reprises her role as the mythologized teenage heroine who, at this point, is as much a saint of cinema as she is of Catholicism. Like Jacques Rivette’s two-part Joan the Maid (1994), the film considers both Joan’s military career—though the battles are not explicitly shown—and her trial for heresy. It’s more somber than Jeannette, as Dumont eschews heavy metal in favor of mournful electronic pop by French singer Christophe (who also appears toward the end as a priest). It may be the result of a happy accident—the young woman who played Joan as a teenager in the previous film declined to appear again—but having a literal child play Joan of Arc is nevertheless a bold choice, especially as she’s surrounded almost entirely by older men; Prudhomme’s performance is extraordinary, but still seeing those around her take her so seriously as a military leader is unreal. Dumont’s two films may not be the best ever made about the Maid of Orléans (to be fair, the competition is stiff), but they’re certainly the most unusual. In French with subtitles.