Saint Maud is one those movies that is marketed as absolutely horrifying, like a plethora of "horror" outings of late, but when you get down to it, these are tightly-written, extremely well acted films that pack an emotional punch, but hardly qualify as terrifying. Films that fall into this category include The VVitch, It Comes at Night. and Goodnight, Mommy. As pointed out by my wife and editor, (and also for my buck), Scott Derrickson's Sinister is far scarier than all 3 of these movies I've mentioned. Now, these movies are fine pieces of work with top flight production values, casting and acting, including the masterful performance from Black Phillip the Goat in The VVitch, that was an Oscar nomination snub that I'll never forgive.
But I digress. The titular Maud is a very young palliative care worker that is only a year into her medical career. We know from a brief segment at the open that something never explained, but awful, happened to derail her hospital career. What that is, we don't know. Maud comes to be the caregiver to a cancer patient who was once a former ballet dancer and choreographer. Maud, deeply religious, sees that her patient, Amanda, is living a sinful life. As religious as Maud is, she begins to feel the need to save Amanda's soul. This is something Maud probably isn't qualified for.
That event mentioned a bit ago has twisted Maud. Her faith, (or obsession) has led her to believe she can physically feel God's presence, and at times hear him. But, alas, there's too much sex in Maud's violence, as Gavin Rossdale put it, and her faith swings like a pendulum. At one moment, she's pious, and endearing. In another she takes a trip down Diane Keaton's path in Looking For Mr. Goodbar, at the slightest inkling that God may not be approving of every move Maud makes.
There are legitimately chilling, and even shocking moments in this film, but it qualifies as a dark character study more than a horror film. Despite whatever horrible thing happened early in her nursing career was, it was enough to bend her to an oscillating struggle with her faith, and her isolation only makes that struggle more painful and confusing. To Maud and the viewer.
It's a slow burn, but one that you feel pinned to, one that draws true empathy and sadness (and yes, at times, fear from its audience). And a last shot that's a fucking puncture wound.
There are elements of Possessed here, and First Reformed, and even notes of The Exorcist, although not necessarily played by the characters you would think would be performing them.
Recommended, but not for all tastes.
No comments:
Post a Comment