Format: Streaming video from Hulu Plus on Fire!
My position when it comes to religion is not a secret, although I haven’t really gone into a great deal of detail on this blog. I am a formerly religious person, believe it or not, but that’s very much in my past. These days, I’m not merely someone who is areligious, but someone who is specifically antireligious. Gun to my head, I will tell you that I think that religion either causes or exacerbates every societal ill we experience, and I can argue that if necessary, although this is not the place for it. Knowing that, Saint Maud was a film that was both difficult and also an encapsulation of exactly why I find religion to be so terrible. It’s also a reminder that “passion” in the religious sense is not necessarily indicative of pleasure, but is synonymous with agony, suffering, and pain.
Saint Maud is a film that explores in very real ways that sort of religious ecstasy, the sort of intensity of feeling where pleasure and pain can no longer be separated. We will be coming at this in the person of Maud (Morfydd Clark), formerly known as Katie. Maud is a nurse who lost a patient despite her attempting CPR. She converted to Catholicism and renamed herself Maud, and takes a job as the equivalent of a hospice nurse. She’s assigned to Amanda (Jennifer Ehle), a former dancer and choreographer who has stage four terminal cancer.
Maud is portrayed in this life as something of an innocent, someone who believes entirely in the purity of her own faith. Amanda, on the other hand, chain smokes, worries about the oblivion of the grave, and frequently pays for sex with Carol (Lily Frazer). Maud becomes increasingly concerned over the state of Amanda’s soul, and in her religious perspective, believes she has been led to the atheistic Amanda in a last-ditch effort to save her soul. For her part, despite her pain and imminent demise, Amanda finds Maud’s faith amusing at best, and is equally amused at Maud’s attempt to keep Carol away from her. Humiliated by this being declared publicly at Amanda’s birthday party, Maud slaps her and is dismissed from her job.
Oh, but we’re just starting on the trip of where this will eventually take us, and rather than spoil much of the second and all of the third act, I’m going to stop here with the narrative. We will be witness to Maud’s stumble into her old habits, her renewed faith, moments of ecstatic religious bliss, and her intense belief that she has been called to some grander purpose by her god, including what she interprets as not only direct signs from the divine, but actual conversations held with it. Naturally, this is not going to end well.
Saint Maud is psychological horror of the most disturbing style. This is an exploration not simply of belief but of the consequences of belief, and our inability in many ways to distinguish between what is fact and what we have convinced ourselves is fact. Maud as a character, initially shown to us as a naif is instead something terrifying: a person so convinced of her own beliefs and what she perceives to be true that she will stop at nothing to impose it on others, no matter the cost. Maud, in a former life, would be Joan of Arc, and would be not merely prepared for the stake, but actively looking forward to it.
One of the most significant realities of Saint Maud is how clearly it demonstrates what I see as one of the greatest dangers of religious faith: confirmation bias. Maud spends much of the film desperately looking for a sign from her god that she begins to interpret everything she sees as the sign that she wants. A circling of clouds, a rustle of wind through the trees, the arrival of an old colleague—all of these become confirmation that her god is alive in her and working in her, and that all she is doing is ultimately right because it has been given divine favor.
That kind of confidence, that complete assurance of being right in all things, is terrifying to me. To absolutely know that you are right and to feel that because of this that you have the right, nay the duty, to impose that truth on everyone else no matter the cost, and no matter the pain caused.
It doesn’t hurt that the last few minutes are, to quote my older daughter, loco bananas.
This is not a movie that is going to work for everyone, but it absolutely did for me. In a world where ideas like Christian nationalism are not merely talked about but earnestly worked toward, a film that shows the potential consequences of that kind of terrifying certainty and desire to use it to control the thoughts and lives of others is chilling.
Why to watch Saint Maud: Man, does this take a hard left turn.
Why not to watch: If you have issues with religion, this could be very triggering.
I definitely want to see this even though I don't have Hulu right now as I hope to watch this real soon.ReplyDelete
Once things start down the hill, they go fast. That said, reactions on this seem to be mixed in some sense--a lot of people appear to be less impressed by it. I for one hope Rose Glass keeps writing and directing.Delete
I really liked this, but I wish they would've elaborated on what happened at her previous posting because it felt so vague. I would've appreciated more context.ReplyDelete
If the movie was expanded by a few minutes, that's what I'd like to see as well. It is probably the ting that keeps this out of the five-star range for me.Delete
The way I figured it, when she was Katie she tried to save the life of an elderly patient as a nurse, and ended up crushing their chest during CPR, hence the visceral reaction to her hallucination when she's having sex with the guy from the bar, and also why she's covered in blood in the opening few shots where she's traumatized in the corner. It also makes the throwaway line from her former co-worker about how no one blames her for what happened make a lot more sense than if she simply didn't revive the patient with CPR, and could also add an extra dimension to why she so fervently feels the need to save the soul of the withering, frail Amanda - an added layer of redemption for her past, perhaps.Delete
I knew this was going to be exactly your kind of movie when I put up my review for it. I completely agree, and like you I came out of it appreciating Rose Glass' work and firm grasp on what this needed even more than I liked the actual film, which I did. The last shot of the film is not going to leave my memory for quite some time, if ever.ReplyDelete
Yeah--the last few moments were reminiscent of a film like Martyrs. That's a compliment, high praise, and absolutely terrifying all at once.Delete
I'm going to go back and find your review of this. I try not to read reviews of things I haven't seen if I can avoid it.