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Saint Maud is the first film by Rose Glass to examine the relationship between trauma and spirituality in a fantastic way. Even if the film may appear to be a warning account on the surface of the hazards of religious fanatism, the Christianity of Saint Maud functions as a second look as a metaphor for the deafening solitude and misery.
The outpatient nurse is Maud (Morfydd Clark). For reasons that are not fully clear, she recently left her employment in a hospital. All we know is that something awful was done by Maud. Very terrible. Very bad, very bad.
Maud is a dedicated Christian, besides being a nurse. Early in the film, Maud starts to see Amanda (Jennifer Ehle), her new patient, who is a retired cancer dancer whose body is devastated. Maud soon starts believing that God has put her on Earth to transform this dying woman into the light.
Saint Maud quiz
And although the singer has a yardstick to it, that’s exactly how Maud is designed to be. Amanda calls Maud “My little Savior” When Amanda states that for the first time in her life she felt God’s presence, Maud starts to believe that she was an earthly saint. However, things are becoming worse as Amanda reveals she only said what her kind but hopeless new nurse wanted to hear. Also, you must try to play this Saint Maud quiz.
St. Maud becomes a film from then on which recounts the painfully shifting faith of Maud. One instant, she curses the name of God, alleging that He was simply going to mock her and commit fleshly sins. Then she lends herself to great asceticism, such as placing the clots in her foot, hell-bent on proving her love (no pun).
This is a smooth, frightful little journey around a theme park that flows effortlessly between the utterly spooky and the silently haunting, never quite allowing you to orient yourself. It takes 84 minutes for the complete tour. Half the fun of observing Saint Maud is the apparently easy skill of the first-time filmmaker, Glass, 31, who is full of tones and imagery and who pays homage to great corporal horrors such as Repulsion and the subjective isolation horror of Ingmar Bergman. It is the wonderful kind of debut that heralds the coming of a distinctive new voice in horror, and it is also the kind of picture which raises numerous questions both about its origins and the many riddles of its narrative. During our hour-long talk, I asked Glass as many of them as possible.
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Maud has a highly sensuous and mutually disgusting relationship with Amanda. The former considers her charge as a sinner to be prayed and saved, and the latter considers her guardian as a strange thing, to be played with as a twisted form of ultimate entertainment. Yet in a way that gets more and more toxic, they are fully enamored with each other. But she is pulled to her hedonistic lifestyle, too. Maud is trying to separate Amanda from her pals — even the companion she hires for sex. The enraged Amanda puts her emotional agony mercilessly on Maud, angry at his condition. It’s all backfired and Maud finds herself alone once again and wants more than herself in connection with power. Or, she wishes to just be visible in the real environment?
Maud answers what she feels is a voice of God, calling upon her to prove herself after being viciously assaulted by a person she encounters over a night. She breaks into the home Amanda and stabs her in the bed to death, believing that she was a devil’s presence. Maud appears to sprout angel wings following this supposed show of worship. She is walking to the beach, dressed in an outfit, and creates a lightscape with a rosy sheet in a style reminiscent of medieval religious iconography and rosary beads.