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Director Rose Glass. runtime 84 Minutes. Follows a pious nurse who becomes dangerously obsessed with saving the soul of her dying patient. . 2019. Genre Horror. Good Time wasn't a good film of 2017. It was the fucking best movie of 2017. Saint maud movie reddit. Saint maud movie 2019. I always thought The Grudge with Sarah Michelle Gellar was pretty solid and didnt need a remake. Saint maud movie. They did such a great job on this trailer. Ive seen the movie a thousand times but the trailer still gives me chills.

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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, she’s 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 Toronto’s Midnight Madness program, where it’ll set some faint hearts into momentary arrest, though it’s 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 believer’s head. Skirting easy cynicism to view fire, brimstone and occasional grace through Maud’s 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, it’s 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 Ramsay’s “Morvern Callar, ” and not just because Clark has some of the young Samantha Morton’s moony, haunted ingenuousness. A memorable supporting presence in Whit Stillman’s “Love and Friendship” and TV’s “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 Fordesman’s brooding, lights-down-low lensing and Paulina Rzeszowska’s 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 film’s 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 she’d like. Whatever the lie is, it’s a strenuous one to live, and as she gives in to dissociation, Maud’s 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 protagonist’s breakdown, toggling Maud’s 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 I’ve 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 employer’s 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 we’ve 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, Glass’s formidable debut is a film that, so to speak, suspends its own disbelief: It’s 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 All3Media’s 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 Restrepo’s feature debut “Los Conductos, ” a movie which captures the shattered mental landscape of a man on the run from a sect. Winner of last year’s Mar del Plata Work in Progress competition, Restrepo’s has scored a prime festival [... ] HBO’s “Chernobyl, ” Netflix’s “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 Italy’s 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 Germany’s 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 [... ].

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OMG I watched this movie yesterday. Holy bro its intense on so many levels. Im a huge horror fanatic and I have to say this one had me flipping. to demonic for me lol. The worst thing about prison was the dementors. Michael Scott. Saint Maud movie reviews. 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. Saint Maud movie. The Light makes you feel safe in scary movies. They flipped that.

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The human species has found a lot of ways to deal with their trauma, some more healthy than others, but there’s no denying that the scorch of unfathomable hardship often drives people into the soothing structure of religion, where suffering is part of god’s 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 A24’s 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 that’s hinted at throughout the film. Regardless of the details, it’s 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 Maud’s proselytizing beyond that of an amusing distraction from the desolate boredom of dying. Despite their differences, Maud and Amanda strike up a fascinating bond that’s 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 spider’s web of fractures in her spirit and psyche, gently walking and talking as if afraid she might step too hard and shatter herself. But that’s not to say Maud is above her own mind games, and watching the duo duke out their battle of wills makes for the film’s 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.  It’s also a bizarrely sensual film. Maud doesn’t just believe in god; she hears him, she feels him, and she loves him. And as she confronts Amanda’s 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 there’s 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. It’s easy to see why the film was a perfect fit in the indie banner’s horror catalog; a project of directorial vision, slow-burn tension, unknowable dread. A24’s 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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