LFF ’19 – ‘Saint Maud’ Blesses the Horror Genre with a Descent into Madness

Screen Queens

Rose Glass’ feature-length debut, Saint Maud, is an unsettling, character-driven psychological thriller that proves the future of the horror genre is in good, revolutionary hands. The film follows Maud (Morfydd Clark), a recent born-again Catholic and private care nurse who begins caring for former dancer Amanda Kohl (Jennifer Ehle). Maud believes that the Lord has a higher purpose for her, and will go to great lengths to fulfill this purpose, even if it costs her own sanity.

Every aspect of the film is heightened and surreal, but grounded in the muted realities of a British seaside town. The performances Glass brings out from Clark and Ehle are spectacular; the two women are both loving and constantly sparring with one another. There’s a kind of sweetness to Maud that Clark captures which is humanising and makes you want to protect her from the world around her, especially from herself. But don’t…

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Published by Ariane Anantaputri

sharpay evans sympathiser. screenwriter & stand-up comedian. this is where i talk about movies and my mental health.

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