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  1. Tomatometers - 7,5 / 10 star
  2. directed by - Rose Glass
  3. Release year - 2019
  5. Country - UK
  6. Actor - Jennifer Ehle

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Gary Oldman, Amy Adams, Julianne Moor- me: You son of a b*tch, I'm in. Top Billed Cast Morfydd Clark Maud Jennifer Ehle Amanda Lily Knight Joy Lily Frazer Carol Turlough Convery Christian Full Cast & Crew Written by SWITCH. on March 3, 2020 'Saint Maud' is an insight into a very modern, very lonely existence that is sadly only too recognisable. It's a testament to how effective the film is that Glass aligns us closely with Maud to the grisly end, because she's really just acting on her own twisted nature, still looking for that elusive personal connection that will relieve a lifetime of loneliness. Glass delivers on so many levels as a writer/director that it's hard to believe this is her debut, establishing unease through suffocating mood, she finds fright in stillness, quiet, and isolation. - Jake Watt Read Jake's full artic... read the rest. Read All Reviews.

The last couple of months I fell in love with A24. Definitely watching this movie in the theater.

I'm skipping this one, I've learned my lesson after not learning it with the other three I'm not doing it again, no more supernatural/cult mind fuckery, no more guys in bears or heads getting popped off in cars doing things I've done and no more ravens eating boobs, I'm out.

I think that ain't the holy spirit filling her up.

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This trailer looks like it could be for a GTA movie lol. I could have sworn that was Hitler on the thumbnail. Can I just say I love Carey Mulligan, you just never know what kind of character she will act. an innocent young girl who falls in love with an older man, or a femme fatale revenge serial killer.

This looks amazing. I don't understand why people are nitpicking. Maniac was awesome so i'm looking forward to this.

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Free Download Saint maude. US Premiere SAINT MAUD 2019, dir. Rose Glass, 83 min., UNITED KINGDOM ‹ › Brief Summary While caring for an attractive woman dying of cancer, devoutly religious nurse Maud develops an all-encompassing case of holy possession mixed with real-life obsession. Full Description Beautiful, reserved, and devout Maud needs a change of scenery and a new assignment to take her mind off the growing pains in her stomach. She takes a nursing job caring for Amanda, a former dancer battling stage three spinal cancer. Amanda is strong, enigmatic, and alluring, clearly struggling to leave her bon-vivant lifestyle behind in her final months on earth. Though the two women couldn’t be more different on the surface, they form an inexplicable bond that grows from mutual admiration to misguided resentment. All the while, a more powerful force starts to take over Maud, causing terrifying bouts of physical contortion in the vein of demonic possession that lead to a dramatic and alarming psychological breakdown. Could Maud truly be under the power of the Lord himself, or has she simply begun a sexual awakening for which she has no better explanation? Rose Glass displays a masterful grasp for the craft far beyond what one expects from a feature debut. SAINT MAUD is gorgeously shot, viscerally constructed, and endlessly enthralling cinema. Morfydd Clark imbues Maud with an uneasy air of desperation, fragility, and instability. It’s a remarkably versatile performance that pairs perfectly with Jennifer Ehle’s brazen interpretation of the headstrong Amanda. Throw in a haunting soundscape and a perfectly gradual sense of ever-increasing paranoia, and SAINT MAUD becomes an unforgettable entree into the paranoid psychological thriller canon. (LOGAN TAYLOR) With Director Rose Glass in Attendance for 1st half.

A must see. haha. typical. Free Download saint mandrier sur mer. “This aint a place for cows.” Im in. Preordering ticket now. 1 win & 1 nomination. See more awards » Edit Storyline There, but for the grace of God, goes Maud, a reclusive young nurse whose impressionable demeanor causes her to pursue a pious path of Christian devotion after an obscure trauma. Now charged with the hospice care of Amanda, a retired dancer ravaged by cancer, Maud's fervent faith quickly inspires an obsessive conviction that she must save her ward's soul from eternal damnation - whatever the cost. Making her feature film debut, writer-director Rose Glass cannily lures the audience into this disturbed psyche, steadily setting up her veritable diary of a country nurse for an unnerving and ultimately shocking trajectory. Morfydd Clark (also at the Festival in The Personal History of David Copperfield) portrays the sanctimonious Maud with an intense stoicism that belies a disquieting vulnerability, as Maud desperately vies for absolution and solidarity from her embittered patient (an enthralling Jennifer Ehle, also at the Festival in Beneath the Blue Suburban Skies). Glass tenderly... Written by Toronto International Film Festival Plot Summary | Add Synopsis Motion Picture Rating ( MPAA) Rated R for disturbing and violent content, sexual content and language See all certifications » Details Release Date: 10 April 2020 (USA) See more » Company Credits Technical Specs See full technical specs » Did You Know? Trivia Director Rose Glass, won the IWC Schaffhausen Filmmaker Bursary Award for this, which was presented to her by Danny Boyle. See more ».

Free Download Saint maud fontenoy fondation. I dont think I know anyone who wouldnt help someone drunk like that. I would just get her a cab. Free download saint maud lewis. I WISH THIS WAS A SERIES. I know I would love endless hours of this. When anxiety goes Horror. 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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Creep factor elevating as the minutes tick... I see you A24.

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