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Horror
writer=Rose Glass
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Saint maud release date. Saint maud interview. Saint maud 1080p. Saint maud trailer music. Saint maud film. 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 [... ].
Saint maud trailer reaction mashup. Looking for movie tickets? Tell us where you are. ENTER CITY, STATE OR ZIP CODE GO Need a refund or exchange? It's easy with our worry-free tickets. Here's what's included with every worry-free ticket purchase: Peace of mind of a guaranteed ticket. We know life happens. You may exchange or request a refund for your entire order, less the convenience fee, through Fandango up until the posted showtime. You'll have to complete your refund and exchange before the posted showtime indicated on your ticket. We'll refund your credit card or we can credit your Fandango account to use for another movie. Your choice. Opens April 10, 2020 R, 1 hr 24 min Horror 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.
Saint maud rose glass. Saint Maud Reviews Movie Reviews By Reviewer Type All Critics Top Critics All Audience Verified Audience Page 1 of 2 March 25, 2020 Saint Maud is aesthetically brooding, torturously devoted to exploring mankind's most selfish martyrdoms, and, yes, accomplishes that oh-so-blasphemous sainthood bastardization we all love. March 10, 2020 Boundary pushing and barnstormingly performed, together, Glass, Clark and Ehle represent a holy trinity of talent, setting the screen ablaze with an intensity that rarely lets up. March 9, 2020 Saint Maud is a strange, gorgeous, and deeply disturbing chiller which mixes psychological, religious, and body horror to form something that feels utterly original. March 7, 2020 A beautifully orchestrated character study, Saint Maud is a chilling and compelling psychological thriller that will unnerve and disturb you. March 3, 2020 It has the stellar central performance from Clark, the unnerving score that ratchets the tension up, and it tackles the big themes in a new and subversive way. February 27, 2020 Jennifer Ehle is great as Amanda, but the film leans fully on a fantastic performance by Morfydd Clark as Maud. Not a moment passes where you do not feel for her. October 9, 2019 An unsettling horror pic built around a character study of an extremely religious nurse. October 7, 2019 Saint Maud, like Ari Aster's Midsommar, is a law unto itself. As Maud's mental state spirals out of control, the film becomes both more surreal and more poetic, culminating in a shocking finale that sent a shiver through the Fantastic Fest audience. October 5, 2019 Saint Maud may move slowly and deliberately, but [Morfydd] Clark makes sure we are always in her character's capable hands -- whether we want to be or not. October 4, 2019 A striking and sure to be controversial psychological thriller; a nerve wracking depiction of a young nurse's crisis of faith pitched somewhere between First Reformed and the gory self discovery of Julia Ducorneau's Raw. October 2, 2019 Saint Maud's conjuration of wild daylight visions and spiritual torments skilfully blurs the line between a possible medical condition and outright madness, while also slyly suggesting that the film's heroine may in fact be possessed. September 23, 2019 First time filmmaker Rose Glass exquisitely confronts the dualities of faith versus obsession and good versus evil in this tense, psychological thriller. September 22, 2019 There was a moment where the theater collectively gasped - you"ll know it when you see it - and that kind of terror is all too rare. September 21, 2019 Saint Maud is driven by a powerful performance by Clark, and on all counts a comfortable contender for horror film of the year. September 19, 2019 The story haunts us long after the end credits roll, especially the two excellent performances from the leads. September 18, 2019 A nightmarish vision of martyrdom and repentance, Saint Maud has great work from Clark and wicked tactics in making us squirm... September 14, 2019 Eerie, vague and wickedly delightful from start to haunting end. September 13, 2019 Carried by a stellar performance from Morfydd Clark in the lead role, Saint Maud is a seamless experience of pure horror pleasure. Amen. September 12, 2019 Rose Glass' taut and trembling Saint Maud transmutes a young woman's spiritual crisis into such a refined story of body horror that genre fans might feel like they're having a religious experience. Page 1 of 2.
Saint maudez. Saint maud trailer 2020. Saint maud 2020. Saint maurice 94410. Saint maud ending. Saint maud ending spoiler. Saint maud billie eilish. Saint matthews catholic church-green bay. Saint maud showtimes. Saint Maud Directed by Rose Glass Produced by Andrea Cornwell Oliver Kassman Written by Rose Glass Starring Morfydd Clark Jennifer Ehle Music by Adam Janota Bzowski Cinematography Ben Fordesman Edited by Mark Towns Production companies Escape Plan Productions Film4 Productions British Film Institute Distributed by StudioCanal Release date 8?September?2019 ( TIFF) 10?April?2020 (US) 1?May?2020 (UK) Running time 83 minutes [1] Country United Kingdom Language English Saint Maud is a 2019 British psychological horror film written and directed by Rose Glass in her feature directorial debut. The story follows hospice nurse Maud (portrayed by Morfydd Clark), a recent convert to Roman Catholicism who fears that she may be possessed when she becomes infatuated with a former dancer in her care ( Jennifer Ehle). It had its world premiere at the Toronto International Film Festival on 8 September 2019. It is scheduled to be released in the United Kingdom on 1 May 2020 by StudioCanal. Cast [ edit] Morfydd Clark as Maud Jennifer Ehle as Amanda Lily Knight as Joy Lily Frazer as Carol Turlough Convery as Christian Rosie Sansom as Ester Marcus Hutton as Richard Carl Prekopp as Homeless Pat Noa Bodner as Hilary Production [ edit] The film was developed by Escape Plan Productions with funding from Film4. In November 2018, it was announced Clark and Ehle had joined the cast of the film, with Glass directing from her own screenplay. [2] The film was fully financed by Film4 Productions and the British Film Institute. Release [ edit] The film had its world premiere at the Toronto International Film Festival on 8 September 2019. [3] [4] Shortly after, A24 acquired U. S. and StudioCanal U. K. distribution rights to the film. [5] [6] It also screened at Fantastic Fest on 19 September 2019, [7] and the BFI London Film Festival on 5 October 2019. [8] The film went on to receive a Special Commendation in the Official Competition section of the London Film Festival, with the jury president, Wash Westmoreland, saying “This dazzling directorial debut marks the emergence of a powerful new voice in British cinema. ” [9] It is scheduled to be released in the United States on 10 April 2020, [10] and the United Kingdom on 1 May 2020. [11] Reception [ edit] Awarding Glass the IWC film bursary, the director Danny Boyle described Saint Maud as "a genuinely unsettling and intriguing film. Striking, affecting and mordantly funny at times, its confidence evokes the ecstasy of films like Carrie, The Exorcist, and Jonathan Glazer’s Under the Skin. " [12] Katie Rife of The A. V. Club gave the film a grade of "B+", saying that the finale was shocking. [13] The review aggregator website Rotten Tomatoes reports that 92% of critics have given the film a positive review based on 22 reviews, with an average rating of 7. 87/10. The site's critics consensus reads: "A brilliantly unsettling blend of body horror and psychological thriller, Saint Maud marks an impressive debut for writer-director Rose Glass. " [14] On Metacritic, the film has a weighted average score of 76 out of 100 based on 5 critics, indicating "generally favorable reviews". [15] References [ edit] ^ "Saint Maud". Toronto International Film Festival. Retrieved 19 September 2019. ^ "Rose Glass' Saint Maud starring Morfydd Clark & Jennifer Ehle starts shooting". Channel 4. 19 November 2018. Retrieved 19 September 2019. ^ Erbland, Kate (8 August 2019). "TIFF 2019 Announces Docs and Midnight Madness Slates, With Films From Alex Gibney and Takashi Miike". IndieWire. Retrieved 19 September 2019. ^ D'Alessandro, Anthony (16 September 2019). "A24 Picks Up TIFF Midnight Madness Pic 'Saint Maud ' ". Deadline Hollywood. Retrieved 19 September 2019. ^ Wiseman, Andreas (20 September 2019). "Toronto Hit 'Saint Maud' Closes UK & France Deals For Protagonist". Retrieved 20 September 2019. ^ "Saint Maud". Fantastic Fest. Retrieved 19 September 2019. ^ "Saint Maud". BFI London Film Festival. Retrieved 19 September 2019. ^ "Monos, Atlantics and White Riot among prize winners at LFF 2019". What's Worth Seeing. 12 October 2019. Retrieved 13 October 2019. ^ Lattanzio, Ryan (December 17, 2019). " ' Saint Maud' Trailer: A24's Latest Horror Evokes 'The Exorcist, ' 'Carrie, ' and 'Under the Skin ' ". Retrieved December 17, 2019. ^ "Saint Maud". Launching Films. Retrieved December 17, 2019. ^ "Saint Maud Director Rose Glass wins £50, 000 film bursary". 1 October 2019. Retrieved 1 October 2019. ^ Rife, Katie (October 2, 2019). "Celebrated Auteurs, Freddy Krueger Drag, and Exploding Eyeballs: The Best of Fantastic Fest 2019". The A. Club. Retrieved December 17, 2019. ^ "Saint Maud (2020)". Rotten Tomatoes. Fandango. Retrieved 22 December 2019. ^ "Saint Maud Reviews". Metacritic. CBS Interactive. Retrieved 22 December 2019. External links [ edit] Official website Saint Maud on IMDb Saint Maud at Rotten Tomatoes Saint Maud at Metacritic.
Saint mandrier. Saint maud plot. Spoiler warning: the final line of this review discusses an image from the film’s ending. When it comes to horror, there is nothing more frightening than the human mind. This motto is brilliantly encapsulated in the British writer-director Rose Glass ’s debut feature Saint Maud. As with other great religious horror films ? including Scott Derrickson’s The Exorcism of Emily Rose and Cristian Mungiu’s Beyond the Hills in the recent crop, and to some extent Brian De Palma’s 1976 classic Carrie ? Saint Maud’s conjuration of wild daylight visions and spiritual torments skilfully blurs the line between a possible medical condition and outright madness, while also slyly suggesting that the film’s heroine may in fact be possessed. In this sense Glass borrows a page from psychoanalysis by portraying zealous spirituality as psychosomatic, but gives neither the religious dogma nor medicine a final say. UK 2019 83 mins Director Rose Glass Cast Maud Morfydd Clark Amanda Jennifer Ehle ? Trailer In the film’s opening, a young woman, Maud ( Morfydd Clark), has suffered an accident involving a patient while working as a hospital nurse. The mysterious incident is a mere flashback but its gory tableau, shrouded in sickly green colours, sets up Maud as a tormented soul with a shadowy past. The action then follows the tight-lipped, socially awkward Maud to her next job, providing palliative home care for a once-famous, now disabled ex-dancer, Amanda ( Jennifer Ehle). Maud’s dedication to Amanda is absolute, but she’s repulsed by Amanda’s lifestyle, which includes recreational drinking and drugs. Jennifer Ehle as Amanda Glass lavishes particular attention to how Maud and Amanda’s relationship escalates, veering from adoration to scorn. Glass’s script shows both women as multifaceted: Amanda, played with cool reserve and airy sophistication by Ehle, is smitten with Maud’s innocence and religious resolve, but also finds her offensively small-minded. Maud, brilliantly acted by Clark, is by contrast all vulnerability and pent-up tension: fawning in one scene, quick to leash out in another. Glass adds sexual jealousy into the mix, when Amanda is visited by a female escort, and Maud eavesdrops on the two, further blurring the line between God’s purported whisperings and tyrannical self-interest. This rollercoaster of tormented emotions, which feed into and off of dogma, is aided by Ben Fordesman ’s astute cinematography which makes the most of tight framing. The camera stays so close to the protagonists, particularly Maud, that it allows us little space for seeing her objectively. In the collapse of perspectival distance lies the film’s rich ambiguity. The close-ups obliterate the world, and lock us into Maud’s point of view, reinforcing the immensity of her feelings, and the extent to which these feelings overwrite and distort her sense of space and time, her notion of right and wrong. As the images grow from drab and prosaic to more vividly disturbing, Glass slowly chips away at our certainty about how to interpret the story. By the time she rolls out the spectacular finale, in which not just a body blazes on a steely beach but the whole sky, we have plunged so deep into ecstasy, we’re ready to empathise with Maud, perhaps even to dread her wrath.
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