Saint Maud Movie Online kickass writed by Rose Glass english subtitle

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writers - Rose Glass Follows a pious nurse who becomes dangerously obsessed with saving the soul of her dying patient Duration - 84m star - Jennifer Ehle rating - 7,8 / 10 stars.

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Saint maud movie. Saint maud music. Saint maud streaming. Saint maur. This movie did what the director intended. it made me feel like absolute shit. Saint maud movie wikipedia. Saint maud wiki. “Sees A24 Logo” Aww man another fire movie, here I come. Saint maud film. Saint maud wikipedia. Saint maud newton. A young woman named Maud converts to Roman Catholicism, suddenly finding herself in the employ of a strong-headed former dancer who is in her care as a nurse. Maud's strange obsession with her new charge combined with her newfound religion and a dark past evolve into something terrifying. Sound good? Well, you're probably the perfect audience for A24's newest chilling horror acquisition and searing exploration of religious fanaticism, Saint Maud. The debut film from British director Rose Glass follows a spate of critical horror hits from film distributor A24 over the last few years. From huge genre-defining moments like Robert Eggers' The Witch and Ari Aster's Hereditary, to smaller but still impactful flicks like Trey Edward Shults' It Comes at Night and Jeremy Saulnier's Green Room, A24 has been delivering some of the best horror films going. Just this year they've delivered boundary-pushing follow-ups from Aster and Eggers in Midsommar and The Lighthouse, and they've also made a name for giving auteurs like Clair Denis, Yorgos Lanthimos and Peter Strickland a space to make unusual genre films like High Life, The Killing of a Sacred Deer, and In Fabric. If you've seen even a couple of of the aforementioned modern masterpieces then you'll have an inkling of what makes an A24 horror film stand out. Unusual stories, atmospheric direction, and incredible sound design have thrown the idea of just what horror can be into the spotlight. Saint Maud looks like it will fit into that mold whilst also offering up an examination of womanhood, religious expression, and mental health. The crossover between religion, spirituality, and horror has given us some of the most iconic genre films of all time like The Exorcist, The Wicker Man, and Rosemary's Baby as well as inspiring new exercises in terror from Pascal Laugier's French new extremity flick Martyrs to Ti West's horrifying Jonestown riff, The Sacrament. Glass is bringing an interesting eye to her entry into the religious horror canon as Saint Maud explores the deterioration of a young woman who is so desperate to believe that she begins to lose her grip on reality. Often spiritual horror films center on the lack of agency that women have over their bodies, whether in the sense of physically, sociologically, or as a person at the mercy of other more powerful people or beings. Here though we enter from a space of choice, as Maud chooses to commit her life to being devout, it is her decisions that lead us into horror and that is a truly exciting subversion of the tropes and trappings of this particular subgenre. It shouldn't be surprising to anyone that A24 has picked up a genre flick that turns our expectations of relationships and gender on its head. Robert Eggers The Witch and The Lighthouse both work as dissections on the patriarchy, family, gender, and masculinity. Ari Aster's Midsommar is a dark meditation on toxic relationships, codependency, and what we're willing to ignore to find somewhere that we might just be able to call home. Saint Maud looks like it will offer an interesting twist on the complex genre offerings with a rare female eye behind the camera telling the story of a young woman torn between her faith, her past, and her own torment. We're incredibly excited for this new addition to the ever-growing and massively impressive A24 horror canon, especially as the film has the potential to once again herald the arrival of another original and vibrant voice to the contemporary horror landscape. Saint Maud opens in North America on March 27 and in the UK on May 1.

Morfydd Clark and Jennifer Ehle star in psychological horror from rising star writer/director Rose Glass. Morfydd Clark (The Personal History of David Copperfield, Love & Friendship) plays Maud, a young religious private carer who becomes dangerously fixated with saving the soul of her glamorous patient Amanda (Jennifer Ehle – Zero Dark Thirty, The Miseducation of Cameron Post. Saint maud a24.

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Man, reading the book made me feel like I was watching a movie, I hope this will not fail my expectations. Can't wait.

 

Saint maux de tête. Saint maud trailer reaction. Saint maud spoilers. Saint maude film. Find someone who trusts you like Nolan trusts Caine. Gosh Julianne Moore doesn't age. She must be a vampire. The Blackcoat's Daughter was distributed by A24 and I think it was an excellent atmospheric horror movie with great performances and visuals. 'Still waters run deep' rings true in this carefully constructed cross between horror and social drama. In her feature debut, director Rose Glass gradually uncovers the storm that is raging beneath the mousy exterior of young nurse Maud. She has been appointed private nurse to Amanda, a former dancer suffering from an incurable disease, whose Gothic villa looks out from a hilltop over a small British resort. Pious Maud has soon not only discharged her physical duties, but also put herself forward as the saviour of Amanda's soul – whether Amanda likes it or not. The two actresses really sink their teeth into their leading roles. Jennifer Ehle is stunning as Amanda, clinging on to her wild artistic lifestyle in spite of her condition. But the spotlight is reserved for Morfydd Clark, who announces her arrival as the timid, god-fearing Maud. It soon turns out her devotion is a fragile mask for her own traumas. Screenings Sun 26 Jan 19:30 - 20:54 de Doelen Willem Burger Zaal Tickets Mon 27 Jan 22:30 - 23:54 Pathé 1 Fri 31 Jan 15:30 - 16:54 Oude Luxor Filmmaker Rose Glass Country United Kingdom Year 2019 Medium DCP Length 83 Language English Producer Andrea Cornwell, Oliver Kassman Production Company Escape Plan Sales Protagonist Pictures Writer Rose Glass Cinematography Ben Fordesman Editor Mark Towns Production Design Paulina Rzeszowska Sound Design Paul Davies Music Adam Janota Bzowski Cast Morfydd Clark, Jennifer Ehle, Lily Knight, Lily Frazer, Turlough Convery, Rosie Sansom, Marcus Hutton.

You really know its one of the best horror movie in a decade when Tomatometer is 83. United Kingdom, 2019 Horror 83 Synopsis Maud, a reclusive live-in nurse, becomes dangerously fixated with saving her newest patients soul. This film is not currently playing on MUBI but 30 other great films are. See whats now showing Show all (4) What are people saying? J. O. 's rating of the film Saint Maud What promised to be a fresh, psychological study of a fragile woman who uses religion to find herself a perverse purpose – instead was derivative, full of predictability and teenage punk show-tier commentary on religious fundamentalism. Some beautiful images don't outweigh the contrived storytelling. Why was this getting so much praise? Henri de Corinth's rating of the film Saint Maud TIFF wanted to love this but the narration is distracting and unnecessary and the progression toward "full-blown religious nutcase" is too abrupt Draughtsman Without Contract's rating of the film Saint Maud A psychotic with a saviour syndrome goes wholly rogue. Fascinating and wonderfully performed and directed; it may well have you gasping and dropping to your knees - rather like some of those who experience Saint Maud in action. Maribou's rating of the film Saint Maud A fabulously atmospheric horror about mental fragility and religious ecstasy at the British seaside that takes all the right turns. Also features artistic women in turbans and some lovely vintage wallpaper. And turns out God is Welsh.

Saint maud release date. Saint maud trailer music. Saint maud rotten tomatoes. Elijah Wood honestly doesn't seem to get himself invested in very many projects that aren't good, his movies are usually a lil weird or feel off in whatever way but in good ways that original or unique movies are. He's become a pretty safe bet for me to base a decision to watch or not watch a movie that I know nothing or very little about, on, knowing he's in something doesg et me nterested enough to see what it is, at least, I actually decided to watch this trailer only after I realized that it was him. Seems like a modest, level headed guy, he's gotta be pretty intelligent, IDK, I think he's cool. 🤗.

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Saint maurice 94410. "Saint Maud" follows in the tradition of A24's "The Witch. Hereditary. and "Midsommar" as a genre-bending horror movie. The debut film of writer/director Rose Glass, “ Saint Maud ” is the latest bold horror movie from A24, the studio that brought you Robert Eggers “The Witch, ” and Ari Asters “Hereditary” and “Midsommar. ” Opening March 27, 2020 in the U. S., the film premiered at the 2019 Toronto International Film Festival. Watch the first trailer for the film below. Back when “Saint Maud” and Glass won a special film prize in the U. K. backed by the British Film Institute, in October from a jury led by Danny Boyle, he described Glass as “an extraordinary talent and powerful storyteller” and said the film was “a genuinely unsettling and intriguing film. Striking, affecting and mordantly funny at times, its confidence evokes the ecstasy of films like ‘Carrie, ‘The Exorcist, and Jonathan Glazers ‘Under the Skin. Her skill in successfully incorporating original elements to a genre story and finding new ways to offer audiences a thrilling cinematic journey through madness, faith and death signifies Glass as a true original. ” In the film, Maud (Morfydd Clark) a newly devout hospice nurse, becomes obsessed with saving her dying patients soul — but sinister forces, and her own sinful past, threaten to put an end to her holy calling. The cast also includes Jennifer Ehle, Turlough Convery, Marcus Hutton, and Carl Prekopp. IndieWires David Ehrlich gave “Saint Maud” a strong review out of Toronto, writing, “A slender but unholy cross between ‘First Reformed and ‘The Exorcist, Rose Glass taut and trembling ‘Saint Maud transmutes a young womans spiritual crisis into such a refined story of body horror that genre fans might feel like theyre having a religious experience. Of course, even the most overzealous viewers will find theres always room for doubt — and thats where the Devil gets in. A palliative care nurse in a dreary town somewhere along the British coast, the intensely devout Maud (a divine Morfydd Clark) is doing her best to seal the area around her soul. That seems to be one hell of a struggle. Soft-spoken but vibrating with serial killer intensity, Maud seldom opens her mouth when shes not talking to God inside her acetic little apartment, reminding her lord and savior that she was meant for something greater. ” Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.

September 8, 2019 9:34PM PT British writer-director Rose Glass's sensational, shape-shifting debut is equal parts horror film, character study and religious enquiry. Around halfway through “ Saint Maud, ” writer-director Rose Glass constructs a cinematic wince moment for the ages, involving nails, bare feet and a young woman with a Christ complex far too big for her own snappable body. “Never waste your pain, ” she says, and this short, sharp needle-jab of a horror parable from bleakest Britain takes the same advice. Glass is sparing with her shocks, but knows how to make them count, like sudden voltage surges in the fritzed, volatile machinery of her narrative, each one leaving the protagonist a little more anxiously damaged than before. A meek, devoutly Christian palliative nurse, with an open wound of a past and what she believes is a higher calling for the future, Maud is like Carrie White and her mother Margaret rolled into one unholy holy terror; as played with brilliant, blood-freezing intensity by Morfydd Clark, shes a genre anti-heroine to cherish, protect and recoil from, sometimes all at once. What genre that is, exactly, is up for discussion. “Saint Maud” is certainly enough of a horror film to make sense of its premiere placement in Torontos Midnight Madness program, where itll set some faint hearts into momentary arrest, though its not itself particularly mad. Rather, Glass has fashioned a sober, viciously disciplined film about a particular madness — or extreme religious fervor, if you want to be polite about it — that cuts to the core of fanaticism and its dangers, while taking pains to place its audience inside the believers head. Skirting easy cynicism to view fire, brimstone and occasional grace through Mauds awestruck eyes, this is finally as much a sympathetic character study, a mental heath mind-map, as it is any kind of chiller. Whatever the case, its one hell of a debut for Rose Glass, who arrives to features fully formed, as elegantly poised between hardness and delicacy as her name. Arthouse and genre-inclined distributors can, and should, fight it out. In its most piercing earthbound moments, “Saint Maud” even evokes the impressionistic human poetry of another shattered-woman study, Lynne Ramsays “Morvern Callar, ” and not just because Clark has some of the young Samantha Mortons moony, haunted ingenuousness. A memorable supporting presence in Whit Stillmans “Love and Friendship” and TVs “Patrick Melrose, ” the Welsh thesp tears into her first leading vehicle like, well, a woman possessed — only in the quietest, most disquieting way. Pert and shy, looking constantly like she wants to crawl out of her own beigely clothed skin, she turns up at the doorstep of unrepentant heathen and hedonist Amanda Kohl (Jennifer Ehle) like Mary Poppins as imagined by Robert Bresson, determined to bring her own brand of austere, God-bothering goodness to a household that — with the help of Ben Fordesmans brooding, lights-down-low lensing and Paulina Rzeszowskas tangibly seamy production design — appears to have been painted in claret and blood. Amanda is a once-celebrated dancer and choreographer, now resigned by illness and disability to a dependent existence in a dingy English seaside town. A superb, biting Ehle plays her with the regal acidity of a former queen bee now mordantly amused by her own downfall. Employed as her private nurse, Maud arrives convinced she can lead her depressed, hard-drinking, lesbian patient to the light in all senses; Amanda, for her part, is equally determined to loosen up her strange, severe but sweetly dedicated carer. Maud, it turns out, has more of a shell to crack, having been traumatized by an incident alluded to in the films dripping, menacing, blue-filtered prologue. Gradually, we learn that her rigorous religious conversion is a recent one, and that Maud is an adopted name: Still, in this small, sad community of low-level gambling and high-level boozing, remnants of an unwanted former life surface more easily and frequently than shed like. Whatever the lie is, its a strenuous one to live, and as she gives in to dissociation, Mauds beatific exterior comes off in partial layers, as if by toxic paint stripper. Her ideological clashes with Amanda turn less good-natured and more violently zealous; to herself, she explains her temperamental changes as signs of a transformative reckoning to come. In the course of just 84 minutes, Glass and editor Mark Towns artfully maintain a two-way view of their protagonists breakdown, toggling Mauds distorted first-person perspective on herself and her out-of-body reality — a balancing act that teases out the extent of her delusions until one truly breathtaking split-second cut snaps the world into focus. “You must be the loneliest girl Ive ever seen, ” Amanda tells Maud in a tone of both kindness and derision, and not a lot of self-awareness. For Maud, her faith is richer company than her employers coterie of fairweather friends and lovers, however unreliable a presence others deem God to be. As daring and testing an examination of the comforts and limits of religion as any weve seen recently, “Saint Maud” is no less thoughtful or compassionate for being dressed up — very stylishly, let it be said — in the trappings of horror. Simultaneously skeptical and inquisitive, Glasss formidable debut is a film that, so to speak, suspends its own disbelief: Its not God-fearing, but its unnerving anatomy of a follower does consider whether, why and how God should be someone to fear in the first place. International production and distribution powerhouse All3Media has named former ITV and Virgin Media communications boss Mike Large as group director of communications. In the newly created role, Large will oversee corporate communications for All3Medias expanding operations in the U. K., Europe, North America and Asia, and will report into All3Media CEO Jane Turton. Popular on Variety. MADRID —  Paris-based sales agent Best Friend Forever has dropped a first trailer for Colombian Camilo Restrepos feature debut “Los Conductos, ” a movie which captures the shattered mental landscape of a man on the run from a sect. Winner of last years Mar del Plata Work in Progress competition, Restrepos has scored a prime festival. HBOs “Chernobyl, ” Netflixs “Sex Education” and indie film “Wild Rose” took top prizes at the U. K. s second annual CDG Casting Awards, held on Feb. 11 in London. Meant to spotlight the full breadth of the profession, the CDG Casting Awards feature competitive categories for theatre, television, film and commercials. Popular on Variety Divided into two. Palomar, the Italian TV and film production company behind “Inspector Montalbano” and “The Name of The Rose, ” is launching a unit dedicated to documentaries to be headed by Andrea Romeo, founder and chief of Italys Biografilm Festival. Palomar Doc, which will become operational in March, will be developing and producing docs and doc series by. Veteran festival programmer, Anderson Le has teamed up with a group of Asian-American and Asian filmmakers to launch creative studio East. Its objective is hatching pan-Asian stories for a global audience. The new outfit will have offices in Ho Chi Minh City and Los Angeles and have activities that stretch from development, financing and production. The glitz of the annual Hong Kong Film Awards will be put to one side this year as a response to the coronavirus outbreak. The awards organizing committee said that it remains important to recognize filmmakers efforts. But the awards show will shift from its scheduled mid-April slot and change its format to avoid creating. Picture Tree Intl. has secured global sales rights of Berlin comedy “Nightlife, ” directed by Simon Verhoeven, following his last film “Welcome to Germany, ” which was Germanys comic relief to the refugee crisis. The film sold to more than 60 territories and screened at more than 50 festivals worldwide, while being the No. 1 box office hit.

Saint maud clip. Saint maud fontenoy. Saint maudit. Saint maud review. The debut film from writer-director Rose Glass, Saint Maud is a chilling and boldly original vision of faith, madness, and salvation in a fallen world. Maud, a newly devout hospice nurse, becomes obsessed with saving her dying patients soul — but sinister forces, and her own sinful past, threaten to put an end to her holy calling. Saint mandrier sur mer. Saint madeleine catholic church. Saint Maud December 17, 2019 “AN UNHOLY HOLY TERROR. ” ( Variety) 𝔜𝔬𝔲𝔯 𝔖𝔞𝔳𝔦𝔬𝔯 𝔦𝔰 ℭ𝔬𝔪𝔦𝔫𝔤 ✟ Watch the trailer for Saint Maud, a new horror vision from A24 and director Rose Glass — In Theaters Spring 2020 It looks like you may be having problems playing this video. If so, please try restarting your browser. Close Saint Maud, Official Trailer HD, A24 Posted by Saint Maud 101, 649 Views.

I always thought The Grudge with Sarah Michelle Gellar was pretty solid and didnt need a remake. Saint maud. SO tired of Cripping-Up - don't PLAY Disabled people - pay Disabled actors to play us! 🤦😤. Saint maurice. Why should I watch The Invisible Man again? I already know the whole story. Thanks to the trai. erm, spoiler. Saint maud trailer 2019. Saint maudan. Saint mande 94160. Saint maud reddit. By  Rose Glass synopsis Maud, a reclusive live-in nurse, becomes dangerously fixated with saving her newest patients soul. international title: Saint Maud original title: Saint Maud country: United Kingdom sales agent: Protagonist Pictures year: 2019 genre: fiction directed by: Rose Glass film run: 83' screenplay: Rose Glass cast: Morfydd Clark, Jennifer Ehle, Turlough Convery, Lily Frazer, Lily Knight, Jel Djelal, Marcus Hutton, Rosie Sansom, Carl Prekopp, Faith Edwards cinematography by: Ben Fordesman film editing: Mark Towns art director: Paulina Rzeszowska costumes designer: Tina Kalivas music: Adam Janota Bzowski producer: Andrea Cornwell, Oliver Kassman executive producer: Mary Burke, Sam Lavender, Daniel Battsek production: Escape Films, Film4, British Film Institute (BFI.

Saint maud imdb. Saint maud fontenoy fondation. 멋있다... 호오. Saint maud director. Saint maud cast. Saint maud reaction. A24 has become the studio de jour for taunt psychological horror, and the upcoming Saint Maud looks like another strong addition to the portfolio. Written and directed by Rose Glass in her debut, Saint Maud follows a hospice nurse who has had a deep spiritual awakening and attempts to save a dying patient with her newfound powers. Starring Morfydd Clark and Jennifer Ehle, Saint Maud hits theaters Spring 2020. For those who can't get enough Star Wars, EA has just dropped the first look at Star Wars Battlefront 2: The Rise of Skywalker. The update brings the saga's final film to your console to celebrate the galaxy's heroes and villains during a war between the Resistance and First Order. While the character update begins tomorrow, a new jungle planet will be available on December 20, 2019. Cars aren't the only thing Porsche lends its design expertise to. From sunglasses to cellphones to hard drives, Porsche Design has worked on applying Prof. Ferdinand Alexander Porsche's design philosphy to a variety of products. Now, Porsche Design and Lucasfilm have teamed up for Porsche's highest-performance vehicle yet — a new starfighter for the Star Wars universe. Just like humans, stormtroopers come in all shapes and sizes and can do almost any job — as long as that job involves not being able to hit anything smaller than the side of a barn with a laser rifle. Abysmal aim aside, the design of Star Wars ' infantry fodder is one of the most iconic enemies in history. WIRED sat down with Doug Chiang and Madlyn Burkert to go over every stormtrooper design in Lucasfilm's archive. Take Veep, plenty of f-bombs, and set it in space — that's the premise for Armando Iannucci's latest show. Starring Hugh Laurie, Suzy Nakamura and Josh Gad, Avenue 5 picks up as a luxury space cruise ship suffers a catastrophic failure, and the guests are starting to get nervous. The series premieres January 2020 on HBO. The Rise of Skywalker is just a week away. While many have speculated, this teaser just confirmed the return of possibly the darkest force in the galaxy. The 90-second clip follows Kylo Ren as he descends into a Sith lair, following the voice of Emperor Palpatine. The Star Wars saga comes to an end December 20, 2019. HBO's Succession deals with the fictional Roy family as they scramble for power as the patriarch picks who will take over his media empire after he's gone. The stakes are high, just like the real-life media landscape the show dissects each week. Composer Nicholas Britell goes through the theme he wrote for the show and how he tried to capture the themes of the show in the notes of the theme song. Get Uncrate Delivered To Your Inbox & Receive 15% Off Your Next Uncrate Supply Order. Some exclusions apply.

I see A24 imma go buy a ticket. But fire who ever made this trailer. I thought this was going to be about Sir Gawain and the Green knight. A24 have such a unique style of films. Sees it's #1 on trending Me: Oh, yeah. My top 3 horror dramas: Woman in the window Woman in black and then the woman in my life. Inception: I am the most confusing movie ever Tenet: beer my hold. Saint maud trailer reaction mashup. Saint maud trailer. Saint maud movie trailer. Saint maude. Saint Maud Título Saint Maud Ficha técnica Dirección Rose Glass Producción Andrea Cornwell Oliver Kassman Guion Rose Glass Música Adam Janota Bzowski Fotografía Ben Fordesman Montaje Mark Towns Protagonistas Morfydd Clark Jennifer Ehle Ver todos los créditos ( IMDb) Datos y cifras País Reino Unido Año 2019 Estreno 8 de septiembre de 2019 ( TIFF) 27 de marzo de 2020 (Estados Unidos) 1 de mayo de 2020 (Reino Unido) Género terror Duración 83 min. 1] Idioma (s) inglés Compañías Productora Escape Plan Productions Film4 Productions British Film Institute Distribución StudioCanal Ficha en IMDb [ editar datos en Wikidata] Saint Maud es una película británica de terror psicológico dirigida y escrita por Rose Glass en su debut como director. Es protagonizada por Morfydd Clark y Jennifer Ehle. La cinta tuvo su estreno mundial en el Toronto International Film Festival el 8 de septiembre de 2019. Tiene previsto ser estrenada el 1 de mayo de 2020 en Reino Unido por StudioCanal. Índice 1 Reparto 2 Producción 3 Estreno 4 Referencias 5 Enlaces externos Reparto [ editar] Morfydd Clark como Maud Jennifer Ehle como Amanda Lily Knight como Joy Lily Frazer como Carol Turlough Convery as Christian Rosie Sansom como Ester Marcus Hutton como Richard Carl Prekopp como Pat Noa Bodner como Hilary Producción [ editar] La película fue desarrollada por Escape Plan Productions con fondos de Film4. En noviembre de 2018, se anunció que Morfydd Clark y Jennifer Ehle se habían unido al elenco de la película, con Rose Glass dirigiendo desde su propio guion. 2. La película fue totalmente financiada por Film4 Productions y la British Film Institute. Estreno [ editar] La película tuvo su estreno mundial en el Festival Internacional de Cine de Toronto el 8 de septiembre de 2019. 3. 4] Poco después A24 adquirió los derechos de distribución de la película en Estados Unidos y StudioCanal en Reino Unido. 5. 6] También fue proyectada en el Fantastic Fest el 19 de septiembre de 2019. 7] y en el BFI London Film Festival el 5 de octubre de 2019. 8] La película recibió una mención especial en la sección de "Competencia Oficial del Festival de Cine de Londres" con el presidente del jurado, Wash Westmoreland, diciendo: “Este deslumbrante debut como director marca el surgimiento de una nueva y poderosa voz en el cine británico”. 9] Tiene programado ser estrenado en los Estados Unidos el 27 de marzo de 2020 [ 10] y en Reino Unido el 1 de mayo de 2020. 11] Referencias [ editar] ↑ «Saint Maud». Toronto International Film Festival (en inglés. Consultado el 19 de diciembre de 2019. ↑ «Rose Glass' Saint Maud starring Morfydd Clark & Jennifer Ehle starts shooting». Channel 4 (en inglés. 19 de noviembre de 2018. Consultado el 19 de diciembre de 2019. ↑ Erbland, Kate (8 de agosto de 2019. «TIFF 2019 Announces Docs and Midnight Madness Slates, With Films From Alex Gibney and Takashi Miike». IndieWire (en inglés. Consultado el 19 de diciembre de 2019. ↑ D'Alessandro, Anthony (16 de septiembre de 2019. «A24 Picks Up TIFF Midnight Madness Pic ‘Saint Maud». Deadline Hollywood (en inglés. Consultado el 19 de diciembre de 2019. ↑ Wiseman, Andreas (20 de septiembre de 2019. «Toronto Hit ‘Saint Maud Closes UK & France Deals For Protagonist». Consultado el 19 de diciembre de 2019. ↑ «Saint Maud». Fantastic Fest (en inglés. BFI London Film Festival (en inglés. Consultado el 19 de diciembre de 2019. ↑ «Monos, Atlantics and White Riot among prize winners at LFF 2019». What's Worth Seeing (en inglés. 12 de octubre de 2019. Consultado el 19 de diciembre de 2019. ↑ Lattanzio, Ryan (17 de diciembre de 2019. «‘Saint Maud Trailer: A24s Latest Horror Evokes ‘The Exorcist, ‘Carrie, and ‘Under the Skin». Launching Films (en inglés. Consultado el 19 de diciembre de 2019. Enlaces externos [ editar] Saint Maud en Internet Movie Database   (en inglés) Saint Maud en Rotten Tomatoes (en inglés) Saint Maud en Metacritic (en inglés.

The human species has found a lot of ways to deal with their trauma, some more healthy than others, but theres no denying that the scorch of unfathomable hardship often drives people into the soothing structure of religion, where suffering is part of gods plan and salvation holds the promise of an eventual happily ever after. In other words: “Never waste your pain. ” That four-word motto is a repeated anthem for Maud ( Morfydd Clark) the recently converted nurse at the heart of A24s most recent horror acquisition,  Saint Maud.   The debut feature from writer/director Rose Glass, Saint Maud follows the recently but passionately devoted young woman as she recovers from some horrific professional incident thats hinted at throughout the film. Regardless of the details, its clear that the incident shook her down to the core and in the aftermath, the young nurse formerly called Katie rebuilt a new, reverent image of herself as Maud; all charity and penitence, and utterly terrified of her own doubt. When Maud takes an assignment as the caretaker of a dying woman without faith, she sees the ultimate opportunity for redemption: the gift of saving a soul in its final days. Unfortunately for Maud, that soul belongs to Amanda Köhl ( Jennifer Ehle) a former world-class dancer and bonafide art-world intellectual, Amanda has little interest in Mauds proselytizing beyond that of an amusing distraction from the desolate boredom of dying. Despite their differences, Maud and Amanda strike up a fascinating bond thats impossible to look away from, each driven by desperation not to feel alone in their greatest time of need. And Glass makes the whole thing feel like an impossibly alluring, slowly tightening noose. Image via A24 At a tight 83-minutes, Saint Maud speeds by in the best way possible, every subtext laden bit of dialogue and pointed glance earning its place in Glass vision. Enough cannot be said about the performances from both Clark and Ehle, who are both so compelling your eyes barely know where to look in their shared scenes. Ehle is riveting and electric as Amanda, with the live-wire enthusiasm of an old alley cat enjoying the struggle of a particularly spirited mouse caught in her last gasp. In response, Clark plays Maude as devastatingly fragile, reflecting the spiders web of fractures in her spirit and psyche, gently walking and talking as if afraid she might step too hard and shatter herself. But thats not to say Maud is above her own mind games, and watching the duo duke out their battle of wills makes for the films brightest moments. The darkest come from Glass elegant construction, which begins with an untraceable feeling of dread and never lets up, each new scene arriving with some unknowable darkness that threatens to engulf everything. Though thematically different in a few crucial ways, Saint Maud often strikes a similar tone as  First Reformed in its examination of the trauma of the pious, the breaking point where faith becomes fanaticism, and the moment where doubt becomes abject horror. And of course, there are traces of  The Excorcist.  Its also a bizarrely sensual film. Maud doesnt just believe in god; she hears him, she feels him, and she loves him. And as she confronts Amandas sexual freedom in tandem with her religious awakening, the two become merged in a carnal crisis of faith. Best of all, Saint Maud s impact only gets stronger as it brews, building to a stunning, shocking finale that knocks whatever wind you have left out of you right before the credits roll. But this is not a movie built around twists and gotchas, and theres no point in trying to outsmart it. This is a film that washes over you and closes in, sealing the deal with a walloping, if not surprising stinger that lands like the hammer of god. Saint Maud debuted at TIFF and was quickly picked up by A24, which gives the film a certain amount of instant cache in some filmgoing circles. Its easy to see why the film was a perfect fit in the indie banners horror catalog; a project of directorial vision, slow-burn tension, unknowable dread. A24s brand comes with a lot of expectations, but I think one of its most enduring legacies will be as a home to an outrageous number of extraordinary directorial debuts — Alex Garland, Robert Eggers, Ari Aster, Greta Gerwig, and Bo Burnham, to cite a few of the benchmarks — and in that regard, Glass Saint Maud is right at home. Rating:  A- Saint Maud screened at Fantastic Fest 2019 and will be distributed by A24. For more, be sure to check out our TIFF interview.

 

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