Religious horror is a staple within the genre, with stories of demonic possession and satanic cults playing on our inherent fear of the divine for years to often terrifying results. Debut filmmaker Rose Glass’ film Saint Maud takes that tried and tested religious archetype and adds something new to the mix, crafting a taut psychological thriller with a spiritual underscore to thrilling effect. This is a film that will have you thinking and talking about it for days after, a hauntingly chilling portrayal of blind faith and the powerful effect religious devotion can have on a tormented soul. Led by a career-defining performance from Welsh actress Morfydd Clark, with stunning cinematography and a bone-chilling score, Saint Maud is one of the best psychological horror films in recent memory, an extremely impressive and original debut that you should seek out as soon as possible if you consider yourself any sort of a horror fan.
Maud (Clark) is in between jobs. Waking up in her depressing single room apartment in a quiet seaside English town, thinking about her mysterious and violent past, she begins to pack for her new role as a live-in nurse for Amanda (Jennifer Ehle), a former professional dancer now confined to a wheelchair due to a crippling spinal cancer diagnosis. Maud’s employment immediately marks a change for Amanda, as the recently converted nurse suggests she invite God into her life and atone for her sins in order to be welcomed into the afterlife. Amanda, looking to make Maud feel comfortable, indulges her rather innocuous requests to pray before meals and discuss faith every now and then. However before long, Maud has taken her duty of care to the next level, becoming obsessed with saving Amanda’s soul; as if this was a role assigned to her by God himself. As Amanda’s patience with Maud’s faith begins to slip, Maud’s attempts to convert her become increasingly violent and deranged, as the young girl’s grip on reality begins to slip on the way to an explosive finale.
Saint Maud lives and dies on the strength of Morfydd Clark’s performance – we see almost all of the events of the film from her point of view – and what a performance it is. This is one of the creepiest, unhinged performances I’ve seen in a horror film, perhaps ever, as this seemingly ordinary if slightly overzealous girl descends into complete insanity over the course of 90 minutes. Clark’s performance is incredibly physical, as she feels God “inside her” contorting her body into strange, inhuman positions, signs that he has a greater plan for her beyond the palliative care she otherwise deems beneath her. By taking the audience into her mind and allowing them to see the world through Maud’s eyes, Glass gives us a window into the madness that this newfound devotion to God has wreaked on Maud’s psyche. She truly believes she communicates personally with God, punishing herself for sins committed by walking on tacks and burning her hands on stovetops. When Amanda insults her faith there’s a murderous glint in Maud’s eyes; a hint of madness that makes you wonder just when this powder keg of a girl is going to explode.
When she does crack it is glorious in all the best ways that horror villainy can be, with Glass playing with the perception of what is real from Maud’s point of view in a way that will make you question everything you have seen and which Maud uses as justification for the extreme violence she undertakes. We hear a disembodied voice we are meant to believe is God and see hints of real life devilry like Maud’s mouth unhinging in demonic fashion, but are never sure whether the supernatural is at play or these horrors are simply within Maud’s head. Whatever the case, it is certainly real for her and Glass chooses to shoot these scenes in the same way as the rest of the film so as to blend the real with the imagined; there is no obvious sign or a different lens given to the more supernatural sequences.
Speaking of imagery the whole film looks fantastic, with cinematographer Ben Fordesman adopting a gritty, almost grimy filter at times to show just how down and out Maud’s character is within the world; as she prays in her filthy, barebones apartment and traipses through dimly lit, disgusting alleys on her way to Amanda’s plush, luxurious abode. Scenes are shot within Amanda’s house using the same gritty style, perhaps to draw similarities between Amanda’s dire situation in her physical battle with cancer and Maud’s own mental and spiritual struggles. Scenes where Amanda, ever the socialite, finds solace in other people’s company are lit warmly, often by a fire that brings a red hue to the surroundings; a possible allusion to the demons Maud believes she has seen in Amanda and her sinful sexual encounters and alcohol abuse.
Jennifer Ehle excels as the other half of this titanic clashing duo, bringing a world-weariness and cynicism to the role that starts as empathy for this girl she believes to be pathetic and lonely but quickly turns to contempt and snark once Maud begins to overstep her boundaries as a nurse. One scene in particular really allows Ehle to go for it as she twists the knife into Maud, insulting her religion and calling out her faith as misguided. You can see Amanda relishing in making this girl hurt after suffering through the cancer; a rare moment of control in a world where she is now unable to perform even the most basic tasks of self-care. Music also plays a pivotal part in distinguishing these two individuals, with lively records constantly being played in Amanda’s house in comparison to the wonderfully dour and chilling score of Adam Janota Bzowski which underpins Maud’s horrifying actions. It may be somewhat reminiscent of Bobby Krlic’s Midsommar and Colin Stetson’s Hereditary scores but for good reason; that eerie, atmospheric sound with sudden percussive blasts and screeching strings is extremely effective in delivering spine-tingling chills.
Saint Maud is another haunting addition to production company A24’s growing portfolio of existential, atmospheric horror. Superbly made from a technical standpoint and anchored by two dynamic performances from Morfydd Clark and Jennifer Ehle, this is an equally fascinating and terrifying look into the mind of a severely damaged young woman whose devotion to her faith has taken her down a violent path. What begins as a creepy, atmospheric psychological thriller takes a turn to the supernatural as the religious forces of good and evil begin to take on a physical presence, leading to a final showdown and final scene that will be etched into your retinas long after you leave the cinema. Rose Glass makes a strong first impression here with one of the best horror films, not only of this year but of the last ten; a terrifying experience that you should immediately subject yourself to.
Saint Maud stars Morfydd Clark & Jennifer Ehle – In cinemas in limited engagements now with a wide theatrical release yet to be announced.