Young nuns cooped up in a monastery. Lustful yearnings. The hint of demonic possession. What seems like the makings of a tawdry horror show becomes a subtle and moving exploration into the sacred and profane. The miracle worker here is Christian Mungiu, the Romanian writer-director who helped put his country’s cinema on the map with 2007’s 4 Months, 3 Weeks and 2 Days, a firebomb about illegal abortion. Beyond the Hills plays it closer inside, timed to the beat of bruised hearts. Alina (Cristina Flutur) has come to the monastery to visit her childhood friend Voichita (Cosmina Stratan), now in the service of God. Had they been lovers? The film suggests, but never shows – only Alina’s desire to lead Voichita off to a life beyond. Both actresses are exceptional. Mungiu lets the bleakness of these lives seep into the soul. Exorcist junkies should look elsewhere. Instead of spinning heads and projectile puke, Mungiu offers nuance and provocation. The result is quietly devastating.

“All Along the Watchtower”

Jimi Hendrix got hold of Bob Dylan's early John Wesley Harding tapes and in late 1967 recorded a version of "All Along the Watchtower" with the Experience in London. Dissatisfied with that first development, Hendrix brought those tapes with him to New York in early 1968 when he began work on Electric Ladyland. Eddie Kramer, Hendrix's engineer at the time, told Rolling Stone that Hendrix "was still looked upon by his basically white audience as the mammoth black guitar hero. There was a constant fight within him to expand himself." Hendrix's successful take on Dylan's work has long been recognized by the songwriter. "I liked Jimi Hendrix's record of this and ever since he died I've been doing it that way," Dylan wrote in the liner notes to his Biograph box set. "Strange how when I sing it, I always feel it's a tribute to him in some kind of way."