Religious fervour mixes with mental illness in a film that takes you to the very edges of psychological horror. Director Rose Glass’ debut feature providing visceral horror of the highest order. Wrapping its audience in a nerve shredding world of mental decline. The escape door firmly closed as we follow a deeply troubled young care worker into a dark tunnel of spiritual torment and madness. The resulting picture creating not only one of the finest debut films in a generation. But also one of the finest horror films I have seen this decade. Saint Maud is a breathtaking visual and auditory experience that slowly eats away at the nerves of the viewer.
In the opening scenes we meet young nurse Maud (Morfydd Clark). The flashes of a terrible accident surrounding her. As her patient lays dead, the room shrouded in a dream inducing green, the illuminated hospital tiles reflecting the tragedy. This vivid flashback to Maud’s past cleverly sets the deeply uncomfortable tone of the film. Shaking the ground beneath the audience from the outset, while Identifying young Mauds past and the roots of her troubled soul.
We then follow the socially awkward and vulnerable Maud as she starts a new job. Providing palliative home care to ex-professional dancer Amanda (Jennifer Ehle). A women whose past fame and glory is shrouded in a slowly deteriorating body at the hands of cancer. However, despite her illness Amanda’s life remains lively and vibrant. Her chain smoking, drinking, cutting remarks and curousity dovetailing with a paid for sex life with her female lover. Despite misgivings about Amanda’s life choices, Maud’s dedication to her employer is absolute. Her newly identifyed mission to save Amanda’s soul from perpetual damnation filling her with spiritual joy. Her instructions coming from a high power that courses through her, guiding her destiny and religious calling.
The two women’s relationship veers from tenderness to scorn. The beliefs Maud holds dear creating an initial bond with Amanda. While her employers intellectual prowess plays with young nurse’s religious fervour and vulnerability. The film never allowing its audience to firmly define who the victim of the piece is. Both Maud and Amanda holding the viewers sympathy in equal measure. However, as their relationship develops and Maud becomes further isolated. Religion meets mental decline, in a journey into the true horrors of the human mind.
Rose Glass slowly unwraps Maud and Amandas story, the glistening lights of the seafront location slowly descending into darkness. The mix between reality and mental torment becoming less defined as we follow Maud to the films truly shocking and heart-stopping finale. The direction of Glass cleverly creating horror, emotion and empathy in equal measure in a similar vein to that of Brian De Palma’s 1976 Carrie.
Performances are nuanced and beautifully constructed. Morfydd Clark’s Maud providing us with a slender, delicate and vulnerable young woman. While Jennifer Ehle’s Amanda is spiky, assured and demanding. Yet equally vulnerable as she nears her final days. Both our characters weaknesses sitting in different areas; one mental and one physical.
While Ben Fordesman’s sublime cinematography keeps things sharply focussed on the characters at the heart of the journey. The camera following its leads with a documentary like precision. As a result, pulling the audience into Maud and Amanda’s world as witnesses to the slowly descending darkness. While the films editing, cleverly cuts the reality of daily life with Mauds inner thoughts. Consequently unbalancing the audience as Mauds internal thoughts turn into sudden actions. An aesthetic that is only heightened by sound design that mixes moments of serenity with sudden and jarring noise.
Rose Glass’ directorial debut is nothing short of formidable. A film that buries itself in your heart and soul while terrorising your mind. Its horror and sadness engulfing you a tsunami of exquisite performances, direction and design. Saint Maud is far more than a pure horror, it’s a trip into the darkest corners of the human mind, religious extremism and delusion.
Director: Rose Glass