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1. 7,8 of 10
2. creators Rose Glass
3. 
4. description 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 captures this relationship with an empathetic gaze that first assumes an ethereal, dreamlike atmosphere - but it isn't long before Maud's dogmatic candor incites an irreconcilable friction that spirals her mind into a suffocating confluence of creeping doubt and paranoia. As Glass tightens the screws on her misguided martyr, well-placed nods are made to religious horror forerunners like William Friedkin's The Exorcist, further contributing to the film's increasingly dread-filled malaise. And when this insidious fever climatically breaks, the consequences are devastating and terrifying in equal measure
5. Cast Lily Frazer, Jennifer Ehle
6. 1 h 24 min

 

 

Saint maurice 94410. Saint maud review. Saint maud ending. Saint maud reddit. Saint maud movie/ music/ artists. Saint madeleine catholic church. Saint mandrier. Saint Maud Synopsis The debut film from writer-director Rose Glass, Saint Maud is a chilling and boldly original vision of faith, madness, and salvation in a fallen world. Maud, a newly devout hospice nurse, becomes obsessed with saving her dying patients soul — but sinister forces, and her own sinful past, threaten to put an end to her holy calling.

Patron Saint of Misbehaving Children Saint Matilda was born into nobility in the Westphalia province of Prussia and was raised by her grandmother, an abbess, in an abbey. married King Henry the Fowler, the first German king from Saxony, and had five children including Saint Bruno, Archbishop of Cologne. interceded with the king on behalf of criminals, nursed the sick, taught the unschooled, and was generous in almsgiving. Upon King Henry I's, also known as King Henry the Fowler, death, Saint Matilda inherited much of his land.  Two of her children, King Otto I, and Henry, accused Saint Matilda of fiscal irresponsibility because of her generosity to the poor. Her oldest son, now Holy Roman Emperor Otto I, confiscated Saint Matilda's property causing her to flee to a convent. Holy Roman Emperor Otto I found out pretty quickly that ruling an empire was not easy, so he and Henry sought out their mother's advice with contrition, restoring her lands, and reconciling, and Saint Matilda resumed caring for the poor. Saint Matilda's feast day is March 14. ��� Patron Saints Main Page.

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Saint maud cast. Saint maud film. 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 couldnt 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. Its a remarkably versatile performance that pairs perfectly with Jennifer Ehles 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.

 

Saint maud. Saint maud fontenoy. Saint maud tiff. Saint maud fontenoy fondation. Saint maude reviews. Saint maud trailer. Matilda was the daughter of Count Dietrich of Westphalia and Reinhild of Denmark. She was also known as Mechtildis and Maud. She was raised by her grandmother, the Abbess of Eufurt convent. Matilda married Henry the Fowler, son of Duke Otto of Saxony, in the year 909. He succeeded his father as Duke in the year 912 and in 919 succeeded King Conrad I to the German throne. She was noted for her piety and charitable works. She was widowed in the year 936, and supported her son Henry's claim to his father's throne. When her son Otto (the Great) was elected, she persuaded him to name Henry Duke of Bavaria after he had led an unsuccessful revolt. She was severely criticized by both Otto and Henry for what they considered her extravagant charities. She resigned her inheritance to her sons, and retired to her country home but was called to the court through the intercession of Otto's wife, Edith. When Henry again revolted, Otto put down the insurrection in the year 941 with great cruelty. Matilda censored Henry when he began another revolt against Otto in the year 953 and for his ruthlessness in suppressing a revolt by his own subjects; at that time she prophesized his imminent death. When he did die in 955, she devoted herself to building three convents and a monastery, was left in charge of the kingdom when Otto went to Rome in 962 to be crowned Emperor (often regarded as the beginning of the Holy Roman Empire) and spent most of the declining years of her life at the convent at Nordhausen she had built. She died at the monastery at Quedlinburg on March 14 and was buried there with Henry. Her feast day is March 14th.

Saint maud trailer 2019. 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, shes 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 Torontos Midnight Madness program, where itll set some faint hearts into momentary arrest, though its 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 believers head. Skirting easy cynicism to view fire, brimstone and occasional grace through Mauds 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, its 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 Ramsays “Morvern Callar, ” and not just because Clark has some of the young Samantha Mortons moony, haunted ingenuousness. A memorable supporting presence in Whit Stillmans “Love and Friendship” and TVs “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 Fordesmans brooding, lights-down-low lensing and Paulina Rzeszowskas 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 films 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 shed like. Whatever the lie is, its a strenuous one to live, and as she gives in to dissociation, Mauds 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 protagonists breakdown, toggling Mauds 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 Ive 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 employers 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 weve 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, Glasss formidable debut is a film that, so to speak, suspends its own disbelief: Its 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. International production and distribution powerhouse All3Media has named former ITV and Virgin Media communications boss Mike Large as group director of communications. In the newly created role, Large will oversee corporate communications for All3Medias expanding operations in the U. K., Europe, North America and Asia, and will report into All3Media CEO Jane Turton. Popular on Variety. MADRID —  Paris-based sales agent Best Friend Forever has dropped a first trailer for Colombian Camilo Restrepos feature debut “Los Conductos, ” a movie which captures the shattered mental landscape of a man on the run from a sect. Winner of last years Mar del Plata Work in Progress competition, Restrepos has scored a prime festival. HBOs “Chernobyl, ” Netflixs “Sex Education” and indie film “Wild Rose” took top prizes at the U. K. s second annual CDG Casting Awards, held on Feb. 11 in London. Meant to spotlight the full breadth of the profession, the CDG Casting Awards feature competitive categories for theatre, television, film and commercials. Popular on Variety Divided into two. Palomar, the Italian TV and film production company behind “Inspector Montalbano” and “The Name of The Rose, ” is launching a unit dedicated to documentaries to be headed by Andrea Romeo, founder and chief of Italys Biografilm Festival. Palomar Doc, which will become operational in March, will be developing and producing docs and doc series by. Veteran festival programmer, Anderson Le has teamed up with a group of Asian-American and Asian filmmakers to launch creative studio East. Its objective is hatching pan-Asian stories for a global audience. The new outfit will have offices in Ho Chi Minh City and Los Angeles and have activities that stretch from development, financing and production. The glitz of the annual Hong Kong Film Awards will be put to one side this year as a response to the coronavirus outbreak. The awards organizing committee said that it remains important to recognize filmmakers efforts. But the awards show will shift from its scheduled mid-April slot and change its format to avoid creating. Picture Tree Intl. has secured global sales rights of Berlin comedy “Nightlife, ” directed by Simon Verhoeven, following his last film “Welcome to Germany, ” which was Germanys comic relief to the refugee crisis. The film sold to more than 60 territories and screened at more than 50 festivals worldwide, while being the No. 1 box office hit.

Saint maud. Saint maud imdb. Saint maude. Saint mande 94160. Saint maud wiki. Posted on Wednesday, September 11th, 2019 by Have there been studies linking trauma and piety? How many born-again converts came to their faith through suffering, damage and pain? First time feature filmmaker Rose Glass examines just that, following newly devout nurse Maud ( Morfydd Clark) and her relationship with her patient, Jennifer Ehle s Amanda. Maud most recently worked at a public hospital, but after a mysterious tragedy concerning her last patient, shes now a private nurse for Amanda, a celebrated dancer dying from lymphoma of the spine. Amandas iconoclasm and Mauds sanctimoniousness make for a dangerous combination, one that Glass takes in fascinating and deeply unexpected places. Saint Maud feels uncategorizable for much of its brief runtime (a delightful 83 minutes. Is it a dark, quirky indie, a blackly comedic character study, a low–budg thriller? But oh man, its last few moments remove the question from our minds in the most dramatic of ways: Saint Maud is a horror movie, and one of the gnarliest and most unapologetic horror movies in recent memory. Its tonally singular, sometimes very funny, always profoundly unsettling, quite emotionally affecting. Glass feature debut wrestles with questions of self and faith, subtle until its not. Clark and Ehle are locked in an archetypal battle of good and evil, but their positions are constantly shifting from victim to villain, instigator and influenced. The action propels forward to an inevitable conclusion, but were never quite sure whos responsible here, Maud or Amanda, God or the other guy – or is it all just random, shitty chance? Its a great-looking film, with even its ugliest scenes singing out with unlikely charm. The perspective of the film is in relentless motion, sometimes bringing the audience into an uncomfortable intimacy and sometimes keeping us at a chilly distance. Ehle gives a powerful performance as Amanda, full of rage at her condition and amusement at Mauds reverence, but both are tempered with surprising glimpses of empathy. Clark is a find and a half, giving us moments of Sissy Spaceks Carrie, all vulnerability and blackness. And Saint Maud certainly brings to mind De Palmas film, as well as Friedkins The Exorcist. But even with her influences firmly in place, Glass creates something utterly her own, a female-forward examination of trauma, religion, sexuality and shame. Glass squeezes so much thought into Saint Maud that theres a wonder she has room for humor and horror, but theres plenty of both, to be sure. While the true joy of Saint Maud lives in its surprise, its the small kind of movie that viewers may not seek out without proper encouragement, so please believe me when I say that its final few minutes are absolutely shocking, making the film worthy of residing on your radar until its available for wide release, whenever that may be. Saint Maud is, in its uniqueness, always a pleasure, but its also, by the end, a very difficult watch. Glass keeps her audience on our toes, always surprising us, challenging us, provoking us. The films a marvelous thing in its own right but also a thrilling invitation to follow this filmmaker wherever she dares to take us next. /Film Rating: 8 out of 10 Cool Posts From Around the Web.

Saint maid. Saint maudez. Saint maud spoilers. YouTube. Saint maudit. Saint maud rotten tomatoes. Play Latest The debut film from writer-director Rose Glass, Saint Maud is a chilling and boldly original vision of faith, mortality, and salvation in a fallen world. Maud, a newly devout hospice nurse, becomes obsessed with saving her dying patients soul — but sinister forces, and her own sinful past, threaten to put an end to her holy calling.

Saint maud wikipedia. The Story and History of Saint Maud The story and history of Saint Maud. This princess was daughter of Theodoric, a powerful Saxon count. Her parents placed her very young in the monastery of Erford, of which her grandmother Maud was then abbess. Our Saint remained in that house, an accomplished model of all virtues, till her parents married her to Henry, son of Otho, Duke of Saxony, in 913, who was afterwards chosen king of Germany. He was a pious and victorious prince, and very tender of his subjects. Whilst by his arms he checked the insolence of the Hungarians and Danes, and enlarged his dominions by adding to them Bavaria, Maud gained domestic victories over her spiritual enemies more worthy of a Christian and far greater in the eyes of Heaven. She nourished the precious seeds of devotion and humility in her heart by assiduous prayer and meditation. It was her delight to visit, comfort, and exhort the sick and the afflicted; to serve and instruct the poor, and to afford her charitable succor to prisoners. Her husband, edified by her example, concurred with her in every pious undertaking which she projected. After twenty-three years' marriage God was pleased to call the king to himself, in 936. Maud, during his sickness, went to the church to pour forth her soul in prayer for him at the foot of the altar. As soon as she understood, by the tears and cries of the people, that he had expired, she called for a priest that was fasting to offer the holy sacrifice for his soul. She had three sons: Otho, afterwards emperor; Henry, Duke of Bavaria; and St. Brunn, Archbishop of Cologne. Otho was crowned king of Germany in 937, and emperor at Rome in 962, after his victories over the Bohemians and Lombards. The two oldest sons conspired to strip Maud of her dowry, on the unjust pretence that she had squandered the revenues of the state on the poor. The unnatural princes at length repented of their injustice, and restored to her all that had been taken from her. She then became more liberal in her alms than ever, and founded many churches, with five monasteries. In her last sickness she made her confession to her grandson William, the Archbishop of Mentz, who yet died twelve days before her, on his road home. She again made a public confession before the priests and monks of the place, received a second time the last sacraments, and, lying on a sack-cloth, with ashes on her head, died on the 14th of March in 968. Feast Day of Saint Maud The Feast Day of Saint Maud is March 14. The origin of Feast Days: most saints have specially designated feast days and are associated with a specific day of the year and these are referred to as the saint's feast day. The feast days first arose from the very early Christian custom of the annual commemoration of martyrs on the dates of their deaths at the same time celebrating their birth into heaven.

Saint maud trailer song. Saint maud turkce dublaj. A young woman named Maud converts to Roman Catholicism, suddenly finding herself in the employ of a strong-headed former dancer who is in her care as a nurse. Maud's strange obsession with her new charge combined with her newfound religion and a dark past evolve into something terrifying. Sound good? Well, you're probably the perfect audience for A24's newest chilling horror acquisition and searing exploration of religious fanaticism, Saint Maud. The debut film from British director Rose Glass follows a spate of critical horror hits from film distributor A24 over the last few years. From huge genre-defining moments like Robert Eggers' The Witch and Ari Aster's Hereditary, to smaller but still impactful flicks like Trey Edward Shults' It Comes at Night and Jeremy Saulnier's Green Room, A24 has been delivering some of the best horror films going. Just this year they've delivered boundary-pushing follow-ups from Aster and Eggers in Midsommar and The Lighthouse, and they've also made a name for giving auteurs like Clair Denis, Yorgos Lanthimos and Peter Strickland a space to make unusual genre films like High Life, The Killing of a Sacred Deer, and In Fabric. If you've seen even a couple of of the aforementioned modern masterpieces then you'll have an inkling of what makes an A24 horror film stand out. Unusual stories, atmospheric direction, and incredible sound design have thrown the idea of just what horror can be into the spotlight. Saint Maud looks like it will fit into that mold whilst also offering up an examination of womanhood, religious expression, and mental health. The crossover between religion, spirituality, and horror has given us some of the most iconic genre films of all time like The Exorcist, The Wicker Man, and Rosemary's Baby as well as inspiring new exercises in terror from Pascal Laugier's French new extremity flick Martyrs to Ti West's horrifying Jonestown riff, The Sacrament. Glass is bringing an interesting eye to her entry into the religious horror canon as Saint Maud explores the deterioration of a young woman who is so desperate to believe that she begins to lose her grip on reality. Often spiritual horror films center on the lack of agency that women have over their bodies, whether in the sense of physically, sociologically, or as a person at the mercy of other more powerful people or beings. Here though we enter from a space of choice, as Maud chooses to commit her life to being devout, it is her decisions that lead us into horror and that is a truly exciting subversion of the tropes and trappings of this particular subgenre. It shouldn't be surprising to anyone that A24 has picked up a genre flick that turns our expectations of relationships and gender on its head. Robert Eggers The Witch and The Lighthouse both work as dissections on the patriarchy, family, gender, and masculinity. Ari Aster's Midsommar is a dark meditation on toxic relationships, codependency, and what we're willing to ignore to find somewhere that we might just be able to call home. Saint Maud looks like it will offer an interesting twist on the complex genre offerings with a rare female eye behind the camera telling the story of a young woman torn between her faith, her past, and her own torment. We're incredibly excited for this new addition to the ever-growing and massively impressive A24 horror canon, especially as the film has the potential to once again herald the arrival of another original and vibrant voice to the contemporary horror landscape. Saint Maud opens in North America on March 27 and in the UK on May 1.

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