Capsule Review: Saint Maud

Written by Michael Clawson

80/100

A shaken young nurse shrinks in the corner of a dark hospital bedroom, blood dripping from her hands, a dead patient splayed out on her back on the cot. The grim opening scene and one jolting, gruesome flashback later on concisely replace exposition that might otherwise have spelled out the original cause of Maud’s trauma-induced delirium. Which is to say that I like the tightness of Glass’s storytelling, even if it did leave me with a less than completely satisfying sense of who Maud really is or was prior to her lonely descent into psychotic religiosity. Channeling Polanski’s Repulsion, Glass roots us in Maud’s crumbling headspace with ruthless commitment (here and there, she does get carried away with her expressive film craft), while Morfydd Clark excels in balancing the tragic dimension of Maud’s arc with its more immediately horrifying elements. All together, pretty thrilling, finely executed psychological horror.

Saint Maud Trailer

You can listen to Michael Clawson and Taylor Baker discuss Saint Maud in further detail in Episode 105 of Drink in the Movies.

Episode 105: Saint Maud / Shiva Baby

“I wasn’t particularly thinking about the likes of Carrie or The Exorcist during writing or shooting, but I can see in hindsight how people have drawn those parallels. Maybe I did it subconsciously without realising.”

Rose Glass

Links: Apple Podcasts | Castbox | Google Podcasts | LibSyn | Spotify | Stitcher | YouTube

This week on Drink in the Movies Michael & Taylor discuss their First Impressions of: Hope & The Killing of Two Lovers and the Feature Films: Saint Maud and Shiva Baby.

Anna Harrison’s Review of Shiva Baby.

Streaming links for titles this episode

Saint Maud and Shiva Baby are currently available to rent or purchase

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