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TIFF Review: ‘Saint Maud’ is an Enthralling Slide into Obsession

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Saint Maud

For her feature film debut, writer/director Rose Glass comes out swinging with Saint Maud. The stage is set for a tense tête-à-tête between the film’s two lead actresses, each bringing their A-game to the battlefield. This psychological horror has an intense slow burn that explodes with one of the best final shots I’ve seen on film. 

Saint Maud follows a troubled young nurse who takes a position as the at-home care for Amanda (Jennifer Ehle, Zero Dark Thirty), a former dancer and choreographer. Maud (Morfydd Clark, Pride and Prejudice and Zombies) is devout in her religious beliefs and believes that — with Amanda’s cooperation — she can save her soul. A toxic obsession develops and threatens to consume them both.

Maud is coming fresh off the heels of a traumatic experience at her last job posting, leaving her ostracized and disgraced. To move past her tarnished name, Maud has reinvented herself, and when she meets Amanda, she sees a second chance.

Amanda is fascinated by Maud and begins a delicate dance of friendship. When Maud upsets their collaborative balance, Amanda is quick to knock her back into place. Thus, Maud’s world shifts and their fates are forever entwined.

The two leads are captivating as they weave through complex emotions and subtext. Clark delivers a compelling performance, leading the audience on an intensifying journey. Ehle oozes confidence and sexuality; even in her declining state, she’s the cat that caught the canary. 

Maud’s relationship with sexuality is left open and exposed. It’s a cold, raw look at desire and lust in women, and the socially imposed feelings of shame that come when we indulge in those fantasies. She views her needs as indiscretions that must be punished; her piety is held above all else. 

Scenes of a sexual nature are shot in a way that feels very intrusive, emphasizing Maud’s feelings of shame with isolated sound and an unflinching focus. Each moment is dripping with that awkward feeling that comes from a regrettable one-night stand. It’s extremely effective. 

This effect is heightened by the harsh realism with which these scenes are shot, contrasted with other scenes that hold an almost dreamlike quality. It creates an imbalance that reflects Maud’s mental state, highlighting her isolation.

The use of sound and lighting is exquisite. The lack of sound echoes through tense moments, while visceral sound effects are used as punctuation for intensity. Some scenes are basked in shadow and others flooded with light, perfectly reflecting Maud’s perception of events. It draws you into the action and emotion of the film, creating a naturalistic experience right to the shocking conclusion.

Saint Maud is a study of fanaticism told from the perspective of someone who is deeply lost in their own madness. The audience is left to question what is real right up to the final, explosive moments of the film. 

Glass has crafted a tight and powerful film that will stick with you long after the credits roll. Each moment we spend with Maud is an unravelling of her character — a discovery of her deepest, darkest nature. Saint Maud is a slow burn in the best possible way, raising the tension and stirring a sense of unease until it boils over. It’s an enthralling and fascinating film, and it’s an experience you won’t soon forget. 

 

For more from TIFF, check out our reviews of The Lighthouse and Blood Quantum.

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Childhood Memories Collide in New Horror Film ‘Poohniverse: Monsters Assemble’

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It looks like ITN Studious and Jagged Edge Productions are going the Avengers: Infinity War route with their upcoming film Poohniverse: Monsters Assemble. From the deranged mind of Rhys Frake-Waterfield (Winnie the Pooh: Blood and Honey) comes this belligerent mash up of beloved childhood icons.

According to an article out of Variety today, Poohniverse: Monsters Assemble will consist of Winnie the Pooh, Bambi, Tinkerbell, Pinocchio, Peter Pan, Tigger, Piglet, The Mad Hatter, and Sleeping Beauty. All of these iconic figured will be warped into nightmarish versions of their former selves. Poohniverse: Monsters Assemble is set to be released upon the world sometime in 2025.

Poohniverse

Actor-producer Scott Chambers (Malevolent) had the following to say about Poohniverse: Monsters Assemble. “As horror fans, we would love an Avengers that is all villains. It’d have Freddy Krueger, Jason, ‘Halloween,’ ‘Scream,’ all of those. Obviously that will never happen, but we can make it happen in our own little way, and that’s where this film has been born.”

Poohniverse: Monsters Assemble will be a part of The Twisted Childhood Universe. Just like the MCU, each character will first get a standalone film. After introductions are made, they will be reunited in an Avengers style film. Although they will be killing off the survivors from the previous films, they won’t be working together.

Chambers describes this as an “epic sequences of monster vs. monster.” And I don’t know what more fans could ask of the studio. This fantastical idea is a huge risk but Poohniverse: Monsters Assemble sounds amazing.

That’s all the information we have at this time. Check back here for more updates on Poohniverse: Monsters Assemble. If you haven’t already, check out the trailer for Winnie the Pooh: Blood and Honey 2 below.

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Blumhouse’s ‘The Wolf Man’ Reboot Kicks Off Production with Leigh Whannell at the Helm

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Blumhouse Productions has officially commenced filming its reboot of the Universal Monsters legend, “Wolf Man”. Under the direction of Leigh Whannell, known for his acclaimed work on “The Invisible Man” (2020), the project promises to breathe new life into the iconic tale. The film is slated for a theatrical release on October 25th, marking a new chapter in the storied franchise.

Wolf Man

The journey of a “Wolf Man” reboot began in 2020 when actor Ryan Gosling presented a fresh take on the classic story to Universal. This concept quickly evolved into a screenplay crafted by the talented duo Lauren Schuker Blum and Rebecca Angelo, who are known for their work on “Orange Is the New Black,” alongside contributions from Whannell and Corbett Tuck. The narrative is set in contemporary times, drawing inspiration from the atmospheric tension of Jake Gyllenhaal’s “Nightcrawler,” albeit with a distinct supernatural twist.

The film has seen its share of directorial and casting shifts, with Whannell initially signing on to direct in 2020, only to step away and then return to the project after Ryan Gosling and director Derek Cianfrance exited. The lead roles have been filled by Christopher Abbott and Julia Garner, both of whom bring significant talent to the screen. Abbott portrays a man whose family faces the terror of a lethal predator, with Garner likely playing his wife, sharing in the familial peril. The storyline also hints at a daughter named Ginger, adding a layer of depth to the family’s harrowing experience.

Julia Garner and Christopher Abbott

This reboot represents a collaboration between Blumhouse and Motel Movies, with Jason Blum producing. Ryan Gosling remains involved as an executive producer, alongside Ken Kao, Bea Sequeira, Mel Turner, and Whannell himself. The announcement of the film’s production start was made by Jason Blum, who shared an exciting glimpse of Whannell on set, signaling the beginning of what is hoped to be a memorable addition to the horror genre.

As the “Wolf Man” reboot moves forward, fans and newcomers alike are eager to see how this modern interpretation will pay homage to its roots while offering a fresh and thrilling experience. With a talented cast and crew at the helm, the film is poised to reintroduce the timeless tale of transformation and terror to a new generation.

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‘Immaculate’ Stars Reveal Which Horror Villains They Would “F, Marry, Kill”

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Sydney Sweeney is just coming off the success of her rom-com Anyone But You, but she’s ditching the love story for a horror story in her latest film Immaculate.

Sweeney is taking Hollywood by storm, portraying everything from a love-lusting teenager in Euphoria to an accidental superhero in Madame Web. Although the latter got a lot of hate among theater-goers, Immaculate is getting the polar opposite.

The film was screened at SXSW this past week and was well-received. It also gained a reputation for being extremely gory. Derek Smith of Slant says the, “final act contains some of the most twisted, gory violence this particular subgenre of horror has seen in years…”

Thankfully curious horror movie fans won’t have to wait long to see for themselves what Smith is talking about as Immaculate will hit theaters across the United States on March, 22.

Bloody Disgusting says that the movie’s distributor NEON, in a bit of marketing smarts, had stars Sydney Sweeney and Simona Tabasco play a game of “F, Marry, Kill” in which all their choices had to be horror movie villains.

It’s an interesting question, and you might be surprised at their answers. So colorful are their responses that YouTube slapped an age-restricted rating on the video.

Immaculate is a religious horror movie that NEON says stars Sweeney, “as Cecilia, an American nun of devout faith, embarking on a new journey in a remote convent in the picturesque Italian countryside. Cecilia’s warm welcome quickly devolves into a nightmare as it becomes clear her new home harbors a sinister secret and unspeakable horrors.”

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