Saint Maud (2020)
Critic Consensus: A brilliantly unsettling blend of body horror and psychological thriller, Saint Maud marks an impressive debut for writer-director Rose Glass.
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Critic Reviews for Saint Maud
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.
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.
That's the basic outline of Rose Glass's feature directorial debut, a thriller that has one thing on its mind - the road to fanaticism leads directly to Hell - but doesn't quite provoke as much as it thinks it does.
Saint Maud seeds the clouds with an eclectic mix of influences, but it works, creating a film with its own strange weather.
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.
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