Morfydd Clark and Jennifer Ehle are terrific as carer and patient in Rose Glass’s extraordinary psychological horror“To save a soul, that’s quite something.” So says Maud, the newly God-fearing subject of Rose Glass’s electrifying debut feature, which establishes the writer-director as a thrilling new talent in British cinema.
Charting a razor-sharp course between the borders of horror, satire, psychodrama and lonely character study (Taxi Driver has been cited as an influence), Saint Maud is a taut, sinewy treat, blessed with an impressively fluid visual sensibility and boosted by two quite brilliant central performances.Morfydd Clark, who demonstrated such perfect comic timing in Armando Iannucci’s The Personal History of David Copperfield, is astonishing as the titular private carer nursing Jennifer Ehle’s Amanda, a once-celebrated dancer now facing the spectre of death.
Maud’s duties are primarily physical: cooking, cleaning, administering medication and basic physiotherapy.
But
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