Review of Saint Maud
midlandsmovies • November 13, 2020
Saint Maud (2020) Dir. Rose Glass
2020 has been devastating for cinema, with the high-ticket blockbusters postponed and theatres having to shut their doors for most of the year. There has been an upside to the reduced schedule, however, and that is that some of the smaller features have had a chance to shine.
One of these is undoubtedly Rose Glass’ debut feature Saint Maud. While psychological, emotive horror has been very much in vogue recently, it would be easy for this nasty little gem to be buried in a regular schedule. Luckily, audiences are having the chance to discover Saint Maud, with its stunning lead performance by Morfydd Clark.
Clark plays Maud, a young carer who has recently converted to Catholicism and brings an intense, pious attitude to her work. Tasked with providing palliative care to former dancer Amanda (Jennifer Ehle), Maud convinces herself that this not simply a case of helping the body but also saving a lost soul.
Glass’ script shines here, examining the dangers of unquestioning devotion on a person’s mental health, and the ravaging effects of terminal illness. Amanda is often cruel to Maud, mocking her faith, yet we also see the embarrassment of a talented, active woman struck down and forced to rely on others. In the same way, Maud’s past is only hinted at, but we can see the struggles of her faith, how it constantly bruised and on the verge of slipping.
The film swerves between grounded and otherworldly sequences, and these more fantastical parts are often gruelling, grotesque moments. Maud’s self-abuse as way of penance makes for uncomfortable viewing (especially that scene with her trainers) and the film gathers pace as she becomes more disconnected from the real world.
There’s an argument that Glass overeggs the pudding somewhat with the climax. An unnecessary jump scare certainly risks taking you out of the film, but the ultimate moments feel like a fitting conclusion to what has come before. With Saint Maud, Glass has steamrolled into the conversation as one of our finest horror directors.
Matthew Tilt
Twitter @Matthew_Tilt
The Backrooms first began as a creepypasta, which is a short piece of narrative fiction typically in the horror genre that’s created by internet users. In 2019, a user on the platform 4Chan uploaded an image to a forum for disquieting images that just feel a little off
Duane Adamoli and Harry Clarke’s short film ‘Surfing’ is a charming love letter to Birmingham’s music scene through the lens of a struggling musician.
On a bright Sunday morning at a campsite just off the A52 in rural Staffordshire, you would never have guessed that a run-of-the-mill grass field would soon set the stage for an epic encounter between 15th century armies.
As my friend and I walked in The Arc Cinema in Beeston, just outside Nottingham, to attend the Beeston Film Festival we were impressed by the sheer amount of people milling around.