Jessica Rodriguez

Whomever read the book like this comment ??. I love how everything about the main character, what she wears, the scenes she's in, seems so bubbly and colorful and it's such a contrast to what she's actually doing. 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. First Stage Studios, led by Sean Connery’s son Jason and BAFTA-winning producer Bob Last, has won a Screen Scotland tender to run a large-scale film and TV studio space in Edinburgh. Screen Scotland plans to invest £1 million ($1. 3 million) towards the initial set up, refurbishment and running costs of the studio space in Port [... ] “Star Wars” actor John Boyega is partnering with Netflix through his UpperRoom Productions shingle to develop non-English language films centered on West and East Africa. The company said on Tuesday that the indie production house founded by the British-Nigerian thesp “will develop film projects based on stories, cast, characters, crew, literary properties, mythology, screenplays and/or [... ] Does anyone still watch televised beauty pageants? Some must do: The likes of Miss America and Miss World presumably aren’t being broadcast to a global audience of ghosts, whatever their declining presence in the popular imagination. Yet for years now, the pageant industry has felt like a dead woman walking and waving, steadily losing TV [... ] South by Southwest laid off at least 50 employees, or a third of its year-round staff, Monday as the festival faces losses in the tens of millions after the cancellation of this year’s festival. Said the festival in a statement: “Due to the City of Austin’s unprecedented and unexpected cancellation of the SXSW 2020 events [... ] A rather pedestrian presentation of a potentially fascinating story, Vanessa Lapa’s “Speer Goes to Hollywood” expands on a little-known footnote to the Hydra-headed history of the post-war fates of top Nazi lieutenants. It is based on the 1972 recordings of conversations between Albert Speer, Hitler’s architect, friend and wartime munitions minister, and screenwriter Andrew Birkin [... ] An utterly bizarre, frequently grotesque, occasionally obscene singularity, Polish artist Mariusz Wilczynski’s abrasive animation “Kill It and Leave This Town” exists so far outside the realm of the expected, the acceptable and the neatly comprehensible that it acts as a striking reminder of just how narrow that realm can be. Occupying a conceptual space several [... ] Harvey Weinstein’s defense team asked a judge on Monday to sentence him to five years in prison, the statutory minimum for two counts of rape and sexual assault. In a seven-page sentencing memo, the defense recounted Weinstein’s charitable contributions and his support for social causes. They also argued that Weinstein has already received a harsh [... ].
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Movie Stream saint maurice. Everyones acting like this is Adam Sandlers first drama movie. I saw Uncut Gems, phenomenal movie but the people saying this is his only drama movie have to see Punch Drunk Love, Reign Over Me, and The Meyerowitz Stories. Feel good movie of 2020. Movie stream saint maudry. Meet Maud, a spooky private-care nurse who’s a little … horny for Christ! In Saint Maud, the newest horror offering from A24, writer-director Rose Glass presents a movie about an in-home nurse (Morfydd Clark) who’s just trying to pray, do good, and save the soul of her mischievous ward (Jennifer Ehle). (And that’s before a Billie Eilish song plays! ) Per the movie’s log line: “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 patient’s soul ? but sinister forces, and her own sinful past, threaten to put an end to her holy calling. ” Saint Maud premiered at the Toronto International Film Festival in September. See it in theaters March 27, 2020. Saint Maud Trailer: All the Good Nurses Go to Hell.
Opens April 10, 2020 R, 1 hr 24 min Horror Tell us where you are Looking for movie tickets? Enter your location to see which movie theaters are playing Saint Maud near you. ENTER CITY, STATE OR ZIP CODE GO This movie releases on April 10, 2020. Sign up for a FANALERT® and be the first to know when tickets and other exclusives are available in your area. Also sign me up for FanMail to get updates on all things movies: tickets, special offers, screenings + more. Movie Reviews Presented by Rotten Tomatoes. I am not sure about this one. A24 and religious themes not always great (i.e. The Nun.
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