★★★★½

Saint Maud (2019)

Written by Dalton Welsh - February 23, 2021

While there has been no shortage of religious based horror in film with classics like Rosemary’s Baby or more contemporary examples in Ari Aster’s Hereditary, director Rose Glass presents a more humanist take on the genre in her debut film ‘Saint Maud’. The film follows Maud a young nurse who after a traumatic experience at the hospital she works at looks to God for purpose in her life. Then, seeing herself as a servant to the lord she seeks to save the soul of a dying patient in her new role as a private carer. With an unreliable narrator leading us through the unnerving tale we are welcomed by a familiar but poignant score, expertly lit cinematography and a preeminent lead performance from relative newcomer Morfydd Clark conveying the human search for purpose in a lonely existence. 

As the film progresses we are slowly given more context as to Maud’s past and subsequently how she came to her current state. But rather than sullying the flow of the narrative through use of constant flashbacks, it is instead shown in the subtleties of her interactions with others. Making every scene feel necessary even if in the moment it might appear inconsequential making it a film ripe for rewatching and analysis despite its somber and dower tone, to further understand the intricacies of Maud’s character. And the film never acts as a mockery of devout people of religion, it is simply using it as a grandiose vessel through which to tell a tale of loneliness and aimlessness and how this search for purpose is deeply affecting Maud’s psychological and emotional state. Keeping it ambiguous throughout the film of whether she is a true agent of divinity to the lord himself or merely falling victim to her own delusions. Then because of the slow methodical incline in both Maud’s changing of persona and the intensity of the surrounding environment, the study of her character feels even more genuine in its gradual nature and captivating. Additionally, this intensity in question makes for two of the most purposeful and effective jump scares I’ve seen in a horror film for many years.

Of course with this study of character comes admiration for the performance from Morfydd Clark as the eponymous saviour. The way she runs a tightrope between innocent and sinister is such a joy to watch on screen, creating equal parts empathy and fear from the audience. Even in Maud’s rare moments of joy you can feel this ever looming melancholy imbued sadness thanks to Clark’s excellent performance. Conveying great emotion both in the subtleties of silence and through her beautifully crafted dialogue and sparing monologues.

The film’s visual style is another great attribute of the film. In many of the scenes there is seemingly only the one light source, whether it be the warmth of a lamp in the corner of the bedroom or the moonlight seeping in through the edges of glass. It not only makes for some great contrast in the directional light against deep shadow, but it feels thematically significant as well, the singular light reminiscent of the singular existence of Maud. The motion of the camera too is greatly significant. While it has certainly been done before, the way the camera closes in on Maud in moments of anxiety and disorientation are still great communicators of her plight, particularly aided by the shallow focus of the camera, making everything else in the scene a mere haze. Furthermore, the frequent slow pans, turns, and zooms of the camera fuel the looming horror of the film as the audience awaits a terrible fate. 

Then finally there is the score by composer Adam Janota Bzowski, who, similar to director Glass, makes his feature film debut. It’s somewhat reminiscent of Colin Stetson’s work on the score for ‘Hereditary’ in its persistent drone and effective creation of discomfort. The score makes an interesting combination of electronic music and more organic instrumentation, so while the tone is consistent, it’s always a surprise what twang the backing track will provide and how it will change the mood of the scene, whether it be a soft flute or a blaring synth-like note. And it’s this slight shifting in the instrumentation that keeps the soundscape fresh and exciting.

So, an intriguing study of spirituality and its role in providing purpose and direction for those who choose to accept it, as well as a more general look at the ramifications of despondent involuntary solitude help to differentiate ‘Saint Maud’ from the slew of religion based horror. The film is strengthened by its slow burn, further emphasising the more typical horror moments as well as providing a great fixation on the journey and psychological state of our protagonist Maud. The character in question portrayed excellently both verbally and non-verbally by Morfydd Clark. All aided by a visual style that makes great use of contrast and methodical motion to develop both the thematics of the film and the ever present dread. As well as a consistently effective yet constantly shifting style in the score. Making for what looks to be the beginnings of a successful career for director Rose Glass.