Laura Morgan

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Correspondent Gustavo Hackaq
Biography: Comunicólogo, patriarcadofóbico e crítico de cinema no @portalitpop da MTV. Bebe cultura pop no café, almoça filme cult romeno e enaltece Bacurau todos os dias.

Country UK; rating 7,5 / 10; Morfydd Clark; Audience score 250 vote; Runtime 1 h 24 minutes; &ref(https://m.media-amazon.com/images/M/MV5BMjE0YzgyNGUtNTI3Ni00MDNlLTkyMWUtODkzMTNkNjBkN2JlXkEyXkFqcGdeQXVyNjg3MjA5NzE@._V1_UY113_CR0,0,76,113_AL_.jpg) ‘Saint Maud’ Trailer: A Nurse Has A Slightly Creepy Obsession With God In A24’s Latest Horror Film 17 December 2019 The Playlist A24 is known for telling unique and bold stories. With its recent hits “ Midsommar ” and “ Hereditary, ” they have officially cemented the fact that they’re not afraid to get a little creepy or out there with their films. Enter “ Saint Maud. ” The new film, from writer and director Rose Glass in her feature film debut, tells the story of Maud, a deeply pious and highly disturbed hospice nurse. Continue reading ‘ Saint Maud ’ Trailer: A Nurse Has A Slightly Creepy Obsession With God In A24’s Latest Horror Film at The Playlist. See full article at The Playlist ? Hereditary (2018) Midsommar (2019) Rose Glass, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.
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Posted on Wednesday, September 11th, 2019 by Have there been studies linking trauma and piety? How many born-again converts came to their faith through suffering, damage and pain? First time feature filmmaker Rose Glass examines just that, following newly devout nurse Maud ( Morfydd Clark) and her relationship with her patient, Jennifer Ehle ’s Amanda. Maud most recently worked at a public hospital, but after a mysterious tragedy concerning her last patient, she’s now a private nurse for Amanda, a celebrated dancer dying from lymphoma of the spine. Amanda’s iconoclasm and Maud’s sanctimoniousness make for a dangerous combination, one that Glass takes in fascinating and deeply unexpected places. Saint Maud feels uncategorizable for much of its brief runtime (a delightful 83 minutes! ). Is it a dark, quirky indie, a blackly comedic character study, a low?budg thriller? But oh man, its last few moments remove the question from our minds in the most dramatic of ways: Saint Maud is a horror movie, and one of the gnarliest and most unapologetic horror movies in recent memory. It’s tonally singular, sometimes very funny, always profoundly unsettling, quite emotionally affecting. Glass’ feature debut wrestles with questions of self and faith, subtle until it’s not. Clark and Ehle are locked in an archetypal battle of good and evil, but their positions are constantly shifting from victim to villain, instigator and influenced. The action propels forward to an inevitable conclusion, but we’re never quite sure who’s responsible here, Maud or Amanda, God or the other guy ? or is it all just random, shitty chance? It’s a great-looking film, with even its ugliest scenes singing out with unlikely charm. The perspective of the film is in relentless motion, sometimes bringing the audience into an uncomfortable intimacy and sometimes keeping us at a chilly distance. Ehle gives a powerful performance as Amanda, full of rage at her condition and amusement at Maud’s reverence, but both are tempered with surprising glimpses of empathy. Clark is a find and a half, giving us moments of Sissy Spacek’s Carrie, all vulnerability and blackness. And Saint Maud certainly brings to mind De Palma’s film, as well as Friedkin’s The Exorcist. But even with her influences firmly in place, Glass creates something utterly her own, a female-forward examination of trauma, religion, sexuality and shame. Glass squeezes so much thought into Saint Maud that there’s a wonder she has room for humor and horror, but there’s plenty of both, to be sure. While the true joy of Saint Maud lives in its surprise, it’s the small kind of movie that viewers may not seek out without proper encouragement, so please believe me when I say that its final few minutes are absolutely shocking, making the film worthy of residing on your radar until it’s available for wide release, whenever that may be. Saint Maud is, in its uniqueness, always a pleasure, but it’s also, by the end, a very difficult watch. Glass keeps her audience on our toes, always surprising us, challenging us, provoking us. The film’s a marvelous thing in its own right but also a thrilling invitation to follow this filmmaker wherever she dares to take us next. /Film Rating: 8 out of 10 Cool Posts From Around the Web:.
Release Date Mar 27, 2020 Written and Directed by Rose Glass Starring Jennifer Ehle, Morfydd Clark Synopsis The debut film from writer-director Rose Glass, 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. Related Films 2016 The Witch 2018 First Reformed. Next movie: The Woman in the Ventilator.