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Saint Maud

7.5 (95%) 214 votes

Saint Maud

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Reporter: Esther Zuckerman

Bio: "a madcap musical romp...fun...good" // senior entertainment writer @thrillist//

countries UK average Rating 7,8 of 10 1 hours 24Min Genre Horror Release Year 2019. Movie Watch Saint maud.

Movie Watch saint maurice 94410. Movie watch saint maudit. Movie Watch Saint maude. By far the weirdest movie Ive ever seen yet incredible nonetheless. 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.

Without Sign Up Saint Maud # Saint Maudreview. Here I recommend Saint Saint Online HBO 2018: 2018 #1 Preview (HBO. hd OnLinE free saint maud Free Stream... Gorgeous hair Nadia. Looks a great film. I need this violin cover of toxic on spotify immediately. Ooh, as a fan of Arthurian legend, Im interested to see where they take this. Gawain and the Green Knight was always one of my favourite tales. There's so much more horror for women in waking life, I imagine. Me, a woman: that's a fair assumption. Written and directed by christopher nolan SHUT UP AND TAKE MY MONEY. I like John Magaro, been following him since The Big Short. Billie eilish. Movie Watch Saint maud fontenoy fondation.

Movie watch saint maudie. Movie Watch saint maurice. Diversity is weakness. USA will dissolve into smaller countries. Was imagining a film about the first cow on the moon. Sightly disappointed. Some of thesee people sound like they from Russia not South Africa. This looks super interesting. “From Christopher Nolan” intro: luidwigs bababaaaaam is the new zimmers baaaaaaam. Movie Watch Saint maudit.

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Movie Watch Saint maux de tête. I am starting to think that the Afrikaner accent might be challenging 🤣🤣🤣. Thought this was a slow burn character drama, but it's just another murder thriller. Looks good, though. Youve heard of The Dark Knight, Now get ready for…. 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) 1 May 2020 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 directorial debut. It stars Morfydd Clark and 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. Plot [ edit] Hospice nurse Maud ( Morfydd Clark) has recently converted to Roman Catholicism and is concerned that she may be possessed when she becomes infatuated with Amanda ( Jennifer Ehle), a former dancer in her care. 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 Morfydd Clark and Jennifer Ehle had joined the cast of the film, with Rose 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 27 March 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 B+, saying that the finale was shocking. [13] The review aggregator website Rotten Tomatoes reported that 91% 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 83 out of 100 based on 5 critics, indicating "universal acclaim". [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] Saint Maud on IMDb Saint Maud at Rotten Tomatoes Saint Maud at Metacritic.

Movie Watch Saint maud fontenoy. 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. International production and distribution powerhouse All3Media has named former ITV and Virgin Media communications boss Mike Large as group director of communications. In the newly created role, Large will oversee corporate communications for All3Media’s expanding operations in the U. K., Europe, North America and Asia, and will report into All3Media CEO Jane Turton. Popular on Variety [... ] MADRID —  Paris-based sales agent Best Friend Forever has dropped a first trailer for Colombian Camilo Restrepo’s feature debut “Los Conductos, ” a movie which captures the shattered mental landscape of a man on the run from a sect. Winner of last year’s Mar del Plata Work in Progress competition, Restrepo’s has scored a prime festival [... ] HBO’s “Chernobyl, ” Netflix’s “Sex Education” and indie film “Wild Rose” took top prizes at the U. K. ’s second annual CDG Casting Awards, held on Feb. 11 in London. Meant to spotlight the full breadth of the profession, the CDG Casting Awards feature competitive categories for theatre, television, film and commercials. Popular on Variety Divided into two [... ] Palomar, the Italian TV and film production company behind “Inspector Montalbano” and “The Name of The Rose, ” is launching a unit dedicated to documentaries to be headed by Andrea Romeo, founder and chief of Italy’s Biografilm Festival. Palomar Doc, which will become operational in March, will be developing and producing docs and doc series by [... ] Veteran festival programmer, Anderson Le has teamed up with a group of Asian-American and Asian filmmakers to launch creative studio East. Its objective is hatching pan-Asian stories for a global audience. The new outfit will have offices in Ho Chi Minh City and Los Angeles and have activities that stretch from development, financing and production [... ] The glitz of the annual Hong Kong Film Awards will be put to one side this year as a response to the coronavirus outbreak. The awards’ organizing committee said that it remains important to recognize filmmakers efforts. But the awards show will shift from its scheduled mid-April slot and change its format to avoid creating [... ] Picture Tree Intl. has secured global sales rights of Berlin comedy “Nightlife, ” directed by Simon Verhoeven, following his last film “Welcome to Germany, ” which was Germany’s comic relief to the refugee crisis. The film sold to more than 60 territories and screened at more than 50 festivals worldwide, while being the No. 1 box office hit [... ].

Movie Watch saint maur. Plot twist: TENET is a prequel to INCEPTION. Movie Watch Saint maud newton. No lie they dont make scary movies like they used to 😅all they do is remake old shit instead of making a new horror story or universe. Movie Watch saint mandrier. "free"ｏnline"no"sign"up #Solarmovie Saint Maud What's Watch full movie dual audio download... 's come a long way. He too, knows that Epstein didn't kill himself. Posted on Tuesday, December 17th, 2019 by A24 has carved out a brand releasing weird, unconventional horror movies that casual horror moviegoers don’t quite get, but horror fans go gaga over. And they’re at it again with  Saint Maud, a highly disturbing slow burn that’s going to stick with you long after the credits have rolled. The Ross Glass-directed feature follows a disturbed young woman ( Morfydd Clark) who works as a hospice nurse. Watch the  Saint Maud trailer below. Read More » The slow, burning, ever-mounting dread. A scenario that always seems slightly  off, as if the world itself has somehow become askew. And a climax that cranks the terror up to 11. These are the familiar trappings of the A24 horror movie –  The Witch,  It Comes At Night,  Enemy, Hereditary,  Midsommar, even the upcoming  The Lighthouse. Now the indie distributor has added another slow-burn terror to their cannon:  Saint Maud,  Rose Glass ‘ sensational creeper that puts the viewer entirely within the mind of its religion-obsessed protagonist. From the very first shot it becomes clear that horrible events are lurking in the shadows of  Saint Maud, and by the time the shocking final frame arrives, we’re left with nothing but unrelenting nightmares. 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. Read More ».

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Morfydd Clark and Jennifer Ehle play nurse and patient in this claustrophobic psychological thriller from debutante director Rose Glass. Although this unsettling, contemporary-set British psychological drama is not a biopic about the real-life canonized St. Maud, a 10th century, excessively devout German queen, it's not hard to imagine why the lead character might have chosen to rechristen herself Maud after a trauma and subsequent conversion to Christianity. Like the disturbed palliative-care nurse we follow here, played with subtlety but also white-hot fervor by Morfydd Clark, the original St. Maud nursed the sick, and is now considered the patron saint of misbehaving children. That second bit seems apt here given that this striking and auspicious feature debut for writer-director Rose Glass explores the title character's obsessive need to control and maybe even convert her older, terminally ill patient, played by Jennifer Ehle. Redolent of a video-store shelf's worth of 1960s and '70s psychological horror thrillers — especially Repulsion, Performance, Taxi Driver and   maybe even  The Killing of Sister George in an oblique way, as well as recent pastiches of that same period ( The Duke of Burgundy) — Saint Maud seeds the clouds with an eclectic mix of influences, but it works, creating a film with its own strange weather. Stab-quick flashbacks of a gory scene in a hospital and dropped hints elsewhere suggest something bad happened to a patient in the backstory for which tightly clenched nurse Maud (Clark) may or may not be responsible. Now, instead of working in the national health service (where she was known as Kate before she changed her name), Maud is caring for terminally ill patients through a private agency in an unnamed seaside town. (The street scenes were shot in picturesque-seedy Scarborough, in the north of England. ) Her latest client is Amanda (Ehle), once a feted, avant-garde dancer in the Pina Bausch vein judging by a video clip we see at one point, who now has a terminal illness, probably cancer judging by the hair loss. But despite the fact that Maud wants to see the glamorous and witty Amanda as an injured broken bird to be cared for, Amanda is more like a spider nesting in her vast bed at the center of a dark house full of corners, menacingly patterned wallpaper the color of blood and secrets. Amanda is not evil or anything as simple and banal as that — just a very smart, complex woman bored with the last stages of her own mortality. In Maud, whom she describes at one point as the loneliest person she's ever met, she sees an amusing if broken plaything to fill up the time with in between visits from her young, sexily snarling lover, Carol (a vividly feral Lily Frazer). But Maud isn't as simple as she looks either, and the two begin a tango of seduction or destruction that leads to some very weird head games. Eventually, Maud's faith and perhaps her sanity starts to fray and crackle, and she swaps the starched uniform for sexier threads and a night of hedonism for herself. By the end, it's not entirely clear whether we have entered an ecstatic realm where the supernatural is possible or whether it's all in Maud's imagination, like the whirlpools she sees in glasses of beer and bathtub drains, redolent of Hitchcock's famous shower scene in Psycho. That ambiguity of genre, never entirely resolved, may frustrate some viewers, but it's clear Glass knows exactly what she's doing as she keeps adding thin layers of meaning and texture to the narrative. This smart, sinister work represents a very arresting calling card which augurs very well for her future prospects. Venue: Toronto Film Festival (Midnight Madness) Production: A Film4, BFI presentation of an Escape Plan production Cast: Morfydd Clark, Jennifer Ehle, Lily Frazer, Lily Knight, Marcus Hutton, Turlough Convery, Rosie Sansom, Carl Prekopp, Jonathan Milshaw, Noa Bodner, Rosie Sansom Director-screenwriter: Rose Glass Producers: Oliver Kassman, Andrea Cornwell Executive producers: Daniel Battsek, Sam Lavender, Mary Burke Director of photography: Ben Fordesman Production designer: Paulina Rzeszowska Costume designer: Tina Kalivas Editor: Mark Towns Music: Adam Janota Bzowski Casting: Kharmel Cochrane Sales: Protagonist 83 minutes.

 

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