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Genre=Mystery Casts=Morfydd Clark release Date=2019 tomatometers=7,7 / 10 country=UK Saint Maud is a movie starring Morfydd Clark, Jennifer Ehle, and Lily Knight. Follows a pious nurse who becomes dangerously obsessed with saving the soul of her dying patient. Watch mojo just being safe. Producers: Lets make a film that is so poignant, yet so inspiring. Something that can soothe the heart yet awaken the human soul. What's the perfect title for that? Someone: First Cow? A24. 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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If God exists then so must The Devil in Rose Glass’ stunning debut Saint Maud which sees a pious young nurse who experiences beatific visions become obsessed with saving the soul of her dying patient Amanda (Jennifer Ehle). Saint Maud is a strange, gorgeous, and deeply disturbing chiller which mixes psychological, religious, and body horror to form something that feels utterly original. Very definitely a genre movie, this is “elevated” horror that messes with your perceptions of what’s real and what isn’t and comes with an ending that’s so simultaneously euphoric and horrific it feels like a punch in the heart. Maud (Morfydd Clark) is a young private palliative care nurse looking after a former noted dancer dealing with late-stage cancer. Maud talks directly to God and feels his presence in almost orgasmic ecstasy and when Amanda tells Maud she can feel Him too, Maud believes it’s a sign and her mission is to deliver Amanda from evil. In Maud’s eyes at least – and cinematographer Ben Fordesman’s camera is very much Maud’s point of view – Amanda is the perfect sinner, shown incessantly smoking, drinking, having sex, and throwing lavish parties for her artistic friends. Meanwhile Maud lives in pious poverty, alone in a run down flat. Hints at past trauma suggests the newly converted Maud has demons of her own she’d be better off focusing on – it’s a story about mental health as much as spiritual and corporeal themes. Meanwhile older, more experienced Amanda has other needs and desires. Once glamorous and celebrated, Amanda is uniquely in touch with her body both as the dancer she was and even as it lets her down – while Maud actively rejects hers, buttoned up in her nurse’s uniform, revealing slashes of self-harm, and later enacting excruciating rituals of pious torture on herself. Maud’s agony and ecstasy is purely spiritual, her perceived higher purpose is juxtaposed against the squalor of her tiny flat. The film is set against the flashing lights and faded glamour of a seaside town (shot in Scarborough) where the locals seem like demons. Fordsman’s camerawork is inventive, full of drunken lurches and pulsing sensuality, and the everyday dinginess of Maud’s existence is used to great effect, with shots of tomato soup boiling in a pan looking like a glimpse into the lakes of hell. If anything, it can be a bit over-stylised at times, though it serves well to reflect the chaos and confusion of Maud’s mental state. Ehle is excellent but this is very much Clark’s movie and sets her out as one of the most interesting young actors around, both fragile and fierce as the conflicted Maud, as her God embraces and forsakes her. It’s a challenging role and the whole film hinges on her performance, but Clark is never less than achingly sympathetic even when Saint Maud leans into its genre tropes. Saint Maud isn’t really like anything else around, though the closest comparisons could be Julia Ducournau’s cannibal movie Raw – Saint Maud is similarly female and visceral – or possibly Ari Aster’s Hereditary in that both are almost oppressively harrowing at points. But while Aster’s film is controlled and theatrical, Saint Maud is more naturalistic in feel in general with celestial and infernal visuals peppered throughout. Maud’s infrequent interactions with ordinary people in the town – a former co-worker, Amanda’s new nurse – are deliciously jarring. It’s as if outside the sacred space of Maud’s flat and the dark den of iniquity of Amanda’s house Maud shouldn’t exist in the real world. To say this is a confident debut from Glass, who won a £500, 000 bursary on the strength of the film, would be an understatement. On this low budget, very British movie alone Glass now stands with Aster, Ducourneau, Robert Eggers, Jordan Peele, and Jennifer Kent as one of the most exciting and distinctive voices in horror today. Packed with incredible moments and indelible images, there is so much to unravel here it would certainly reward multiple viewings. In Saint Maud God, and The Devil, are in the details. Saint Maud opens in US theaters on April 10 and in UK cinemas on May 1.

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Saint maud download free. Amazing. Saint maud download movie. A24 have such a unique style of films. Saint Maud. Saint maud download images. Saint maud download online. I can imagine how they started this movie. Elijah, we have this script - weird as f@ k and we are going to make the weirdest movie ever. But you know what is going to be weirder? A mustache on your face. I've watched 6 out of 13. I really love A24, it's like they completely figured out what I love in a movie. Specially horror and drama. “Are you blind?” Yes hes visually impaired and you let him drive. Are you all crazy? 🤣.

Robert Pattinson: alright, Im ready for tenant Stephenie Meyer: What? No, this is called Twilight. So I had some friends in the grade above me who went to see this movie on the weekend, and they absolutely hated the film because of what this trailer showed them, also they were all high amid the feature. One of them claimed it was the worst movie they had ever seen, another wanted to write hate mail to the creators. Then I went to go see the film 2 years later entirely expecting to see what made their view on it so exasperated. I didn't. I absolutely adore this film. It's in no way one of the greatest horror films but what it can directly show contemporary audiences is that of what the genre of horror is actually about. Horror does not aim to scare you, horror is horror; it's supposed to shine a light on completely out of reach circumstances apart from our normal lives, if artistic it can be to represent something. What, for me, makes a good horror film is not a scare I endure during the film, it's a series sequences or images that you can take a step back and directly say: That's horror.

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The original is called Hasta La Vista from Belgium. Just watched the movie without seeing a trailer or reading anything about it beforehand. did not see any of that coming wtf. A24 Die zurückgezogen lebende Pflegerin Maud entwickelt eine gefährliche Fixierung auf das Seelenheil ihres neuesten Patienten. Trailer Bilder A24 A24 A24 Kommentare Dein Name Deine E-Mail-Adresse Dein Kommentar Hilfe zum Textformat CAPTCHA Diese Sicherheitsfrage überprüft, ob Sie ein menschlicher Besucher sind und verhindert automatisches Spamming. Weitere Filme von Rose Glass Weitere Filme mit Jennifer Ehle Das Gesetz der Ehre Little Men (2016) I Kill Giants (2017) Vox Lux (2018) Zero Dark Thirty (2012) Die Gärtnerin von Versailles (2015) Spooks - Verräter in den eigenen Reihen A Quiet Passion Lover oder Loser The Forger Morfydd Clark Crawl (2019) Dracula (Miniserie, 2020) Lily Frazer.

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Saint maud download. Wow beautiful. Saint Maud download free. Saint maud download full. 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 ».

This isn't weird if you've watched 'The Wicker Man' original) first. Give it a try, I don't even want to rewatch it. I enjoyed Midsommar anyway. First trailer for Saint Maud. 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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