![]() Maud’s tenderness and patience seem infinite, at least until the older woman tells her that she’s an atheist the reason that Amanda isn’t ready to meet her maker is because she doesn’t think he’s there in the first place. Amanda, a former choreographer who now uses a wheelchair, retains a lust for life (and flesh) that only gains in intensity as her condition worsens. Maud is young and strong but hobbled by religious devotion she doesn’t get out much and it doesn’t go well when she does. Glass has some of von Trier’s ecstatic boldness and mordant humor as well the contrast between hospice nurse Maud (Morfydd Clark) and her lymphoma-stricken charge Amanda (Jennifer Ehle) suggests a kind of bickering, metaphysical odd couple. With its windswept seaside setting and story of a young woman who believes she has a direct line to the Almighty, Saint Maud could be seen as an homage to Lars von Trier’s Breaking the Waves. ![]() The only evidence she has of this mission is her own belief. In Saint Maud-an impressive directorial debut by 31-year-old British writer-director Rose Glass that is the best new horror movie of 2021 so far-the protagonist knows, to a certainty, that God has tasked her with saving a dying woman’s soul.
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