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Saint Maud
Theatrical release poster
Directed byRose Glass
Written byRose Glass
Produced by
  • Andrea Cornwell
  • Oliver Kassman
Starring
CinematographyBen Fordesman
Edited byMark Towns
Music byAdam Janota Bzowski
Production
companies
Distributed byStudioCanal
Release dates
  • 8 September 2019 (2019-09-08) (TIFF)
  • 9 October 2020 (2020-10-09) (United Kingdom)
Running time
84 minutes
CountryUnited Kingdom
LanguageEnglish
Budget$2.5 million[1]
Box office$1.6 million[2][3]

Saint Maud is a 2019 British psychological horror film written and directed by Rose Glass in her feature directorial debut. The film stars Morfydd Clark as a newly-converted religious private carer who becomes dangerously fixated with saving the soul of her patient. Jennifer Ehle, Lily Frazer, Lily Knight, Marcus Hutton, Turlough Convery and Rosie Sansom appear in supporting roles.

Saint Maud premiered at the Toronto International Film Festival on 8 September 2019, and was released theatrically in the United Kingdom on 9 October 2020 by StudioCanal. It received critical acclaim, with particular praise for Glass' direction and screenplay, the performances of Clark and Ehle, and Fordesman's cinematography. At the 74th British Academy Film Awards, Glass was nominated for Outstanding British Film and Outstanding Debut by a British Writer, Director or Producer. The film earned a record seventeen nominations at the British Independent Film Awards 2020 and won two, Best Cinematography for Fordesman and the Douglas Hickox Award for Glass.[4][5]

Plot

[edit]

A nurse named Katie fails to save the life of a patient in her care, despite attempting CPR.

Some time later, Katie, now referring to herself as Maud, has become a devout Roman Catholic and is working as a private palliative care nurse in an English seaside town. She is assigned to care for Amanda, a hedonistic former dancer and choreographer from the United States who is terminally ill with stage four lymphoma. Amanda is embittered by her fate and confesses to Maud that she fears the oblivion of death. Maud comes to believe that God has tasked her with saving the atheist Amanda's soul. Maud reveals to Amanda that she sometimes feels God's presence, and she and Amanda appear to be overcome with ecstasy as they pray together.

Maud becomes suspicious of Amanda's companion Carol, who visits regularly and with whom Amanda has sex. She implores Carol to stop visiting because she believes Amanda's soul is in jeopardy due to distractions of the flesh. Carol is incensed by this, accusing Maud of homophobia, but Maud rebukes this stating that she would not care whether Carol were a man or a woman. Carol attends Amanda's birthday party anyway, and in front of Maud, Amanda informs the partygoers that Maud tried to drive Carol away. The party guests laugh at Maud, calling her "Saint Maud", and wrap a cover on her head. Amanda mocks Maud for trying to save her soul and suggests that she is a homophobic prude, jealous of her relationship with Carol. Maud strikes Amanda and is dismissed from her job.

Believing that God has rejected her, Maud visits a pub to find companionship but is rejected by most of the people she meets. She goes home with a man and during sex suffers flashbacks of the death of her patient and her attempts at CPR, which causes her to stop. The man initially appears sympathetic but then rapes Maud who initially resists, and then appears to dissociate. As she is leaving, he taunts her by revealing that he remembers her hooking up with a friend of his during her hedonistic past.

While out walking, she encounters Amanda's new nurse and storms off when she realizes that her replacement enjoys a good relationship with Amanda. In her decrepit apartment, Maud begs for a sign from God who appears to tell her to be ready for an act that will demonstrate her faith. Repentant of her actions, Maud assembles a spugna for her right foot to practice the mortification of the flesh.

That night, Maud, dressed in a makeshift robe and wearing rosary beads, enters Amanda's house after the care nurse leaves. She finds Amanda in bed, weakened. Amanda asks forgiveness for mocking her faith, and Maud joyously reminds her of the time they experienced God's presence. Amanda reveals that she feigned the experience and that she believes God is not real. Maud recoils in horror as a now-demonic Amanda hurls her across the room and mocks her for needing to prove her faith. In a delirious frenzy, Maud stabs Amanda to death with a pair of scissors.

In the morning, Maud wanders onto a beach and douses herself with acetone peroxide before horrified onlookers. She utters her last words in Welsh—"Glory to God"—as she self-immolates. In her last moments, angel wings appear upon her and the onlookers kneel in awe as Maud looks up to the sky glowing with grace. The scene then smash-cuts for a split second to the reality of Maud being burned alive and screaming in agony.

Cast

[edit]

Production

[edit]

The film was developed by Escape Plan Productions with funding from Film4 Productions and the British Film Institute. In November 2018, it was announced Clark and Ehle had joined the cast of the film, with Rose Glass directing from her own screenplay. Principal photography began that same month in North London and Scarborough, and lasted for five weeks.[6]

Release

[edit]

Saint Maud had its world premiere at the Toronto International Film Festival on 8 September 2019.[7][8] Shortly afterwards, A24 and StudioCanal acquired North American and UK distribution rights to the film, with Diaphana Distribution acquiring French distribution rights and Sony Pictures Worldwide Acquisitions acquiring rights for all remaining territories.[9][10] It also screened at Fantastic Fest on 19 September 2019,[11] and the BFI London Film Festival on 5 October 2019.[12] The film went on to receive a Special Commendation in the Official Competition section of the London Film Festival, with the jury president, Wash Westmoreland, saying, "This dazzling directorial debut marks the emergence of a powerful new voice in British cinema."[13]

It was originally scheduled to be released in the United States on 10 April 2020,[14] and in the United Kingdom on 1 May 2020.[15] However, due to the COVID-19 pandemic, the release was postponed in the United States until 17 July 2020, and was later pulled entirely from the schedule.[16][17][18][19] It was released theatrically in the United Kingdom on 9 October 2020, and on DVD and Blu-ray on 1 February 2021.[20][21] It was given a limited theatrical release in the United States on 29 January 2021, followed by video on demand and Epix on 12 February 2021.[22]

Reception

[edit]

Critical response

[edit]

On the review aggregator website Rotten Tomatoes, 92% of 193 critics' reviews are positive, with an average rating of 8/10. The website's consensus reads: "A brilliantly unsettling blend of body horror and psychological thriller, Saint Maud marks an impressive debut for writer-director Rose Glass."[23] Metacritic, which uses a weighted average, assigned the film a score of 83 out of 100, based on 35 critics, indicating "universal acclaim".[24]

Director Danny Boyle described Saint Maud as "a genuinely unsettling and intriguing film. Striking, affecting and mordantly funny at times, its confidence evokes the ecstasy of films like Carrie, The Exorcist, and Jonathan Glazer's Under the Skin."[25] Katie Rife of The A.V. Club gave the film a grade of "B+", saying that the finale was shocking.[26] In a review for Common Sense Media, Danny Brogan wrote, "A deeply unsettling, yet superb first feature film from director and writer Rose Glass, this psychological horror is far more than just jump-scares – though there are plenty of those too. At the heart of Saint Maud is loneliness and how it can manifest. Maud is a deeply lonely character, whose need for redemption and a desire to belong, all contribute to form a dangerous cocktail with devastating consequences."[27]

Film critic Mark Kermode listed it as his favourite film of 2020, calling it an "electrifying debut".[28]

In July 2025, The Hollywood Reporter ranked it number 15 on its list of the "25 Best Horror Movies of the 21st Century."[29]

Accolades

[edit]
Year Award Category Recipient(s) Result
2021 41st London Film Critics' Circle Awards Film of the Year Saint Maud Nominated
Director of the Year Rose Glass Nominated
Actress of the Year Morfydd Clark Nominated
Supporting Actress of the Year Jennifer Ehle Nominated
Screenwriter of the Year Rose Glass Nominated
British/Irish Film of the Year Saint Maud Won
British/Irish Actress of the Year Morfydd Clark Won
Breakthrough British/Irish Filmmaker of the Year Rose Glass Won
23rd British Independent Film Awards Best British Independent Film Rose Glass, Andrea Cornwell, Oliver Kassman Nominated
Best Director Rose Glass Nominated
Best Actress Morfydd Clark Nominated
Best Supporting Actress Jennifer Ehle Nominated
Best Screenplay Rose Glass Nominated
The Douglas Hickox Award (Best Debut Director) Won
Best Debut Screenwriter Nominated
Breakthrough Producer Oliver Kassman Nominated
Best Casting Kharmel Cochrane Nominated
Best Cinematography Ben Fordesman Won
Best Costume Design Tina Kalivas Nominated
Best Editing Mark Towns Nominated
Best Effects Scott MacIntyre, Baris Kareli, Kristyan Mallett Nominated
Best Make-Up & Hair Design Jacquetta Levon Nominated
Best Music Adam Janota Bzowski Nominated
Best Production Design Paulina Rzeszowska Nominated
Best Sound Paul Davies, Simon Farmer, Andrew Stirk Nominated
74th British Academy Film Awards Outstanding British Film Rose Glass, Andrea Cornwell, Oliver Kassman Nominated
Outstanding Debut by a British Writer, Director or Producer Rose Glass, Oliver Kassman Nominated
30th British Academy Cymru Awards Best Actress Morfydd Clark Won
2022 24th Fangoria Chainsaw Awards Best First Feature Saint Maud Won
Best Director Rose Glass Nominated
Best Lead Performance Morfydd Clark Nominated
Best Supporting Performance Jennifer Ehle Nominated
Best Screenplay Rose Glass Nominated

Stage adaptation

[edit]

In 2024, Jessica Andrews adapted Saint Maud with director Jack McNamara for the Live Theatre Company.[30]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Saint Maud

View on Grokipedia
from Grokipedia
Saint Maud is a 2019 British film written and directed by in her feature directorial debut. The story centers on Maud (), a young, newly devout nurse who becomes intensely obsessed with saving the soul of her terminally ill patient, (), a former dancer, while grappling with her own traumatic past and blurring lines between faith and delusion. Produced by and distributed in the United States by , the film premiered at the on September 8, 2019, received a in the on October 9, 2020, and opened in U.S. theaters on January 29, 2021, followed by streaming on February 12, 2021. Critically acclaimed for its tense atmosphere and Clark's performance, Saint Maud holds a 92% approval rating on based on 195 reviews, with the consensus praising it as "A brilliantly unsettling blend of and , [that] marks an impressive debut for writer-director ." The film draws on Catholic imagery and traditions to examine the perils of religious fervor and isolation, following Maud's descent as she interprets divine signs in her mission to convert the skeptical . Supporting roles include as Tom, Amanda's lover, and as Joy, highlighting Maud's strained social connections. , who developed the screenplay during the 2015 BAFTA Rocliffe New Writing Competition, infuses the narrative with personal reflections on faith, inspired by her Catholic upbringing, resulting in a runtime of 84 minutes noted for its meticulous pacing and visual style. Saint Maud garnered significant recognition at awards ceremonies, earning 17 nominations at the 2020 (BIFA), including Best British Independent Film, Best Director, and Best Screenplay for Glass, as well as Best for Clark; it won two, including the Award (Debut Director) for Glass. At the 2021 BAFTA Awards, Glass received a nomination for Outstanding Debut by a British Writer, Director or Producer, and the film was also nominated for eight London Critics' Circle Film Awards. With a budget under £2 million, it achieved commercial success through critical buzz and festival acclaim, solidifying its place in contemporary horror cinema.

Synopsis and cast

Plot

Maud, whose real name is , is a young private nurse and recent convert to Catholicism living in the coastal town of Scarborough, who believes has chosen her for a divine mission to save souls. Newly devout after a traumatic past hinted at through flashbacks, she practices extreme acts of , such as placing nails in her shoes and kneeling on uncooked rice, to atone and connect with the divine. Assigned as a live-in for Köhl (), a terminally ill former dancer and choreographer suffering from terminal and confined to her seaside home, Maud becomes increasingly obsessed with converting her atheistic patient to Catholicism to secure her salvation. , depressed and reliant on alcohol, initially engages with Maud's fervor in ambiguous ways, while her brief romantic involvement with her companion Carol () highlights tensions in their dynamic. Maud also interacts with (), a cheerful fellow nurse who represents a contrasting, more secular outlook on life and work. As Maud's isolation deepens, she experiences vivid religious visions and ecstatic episodes interpreted as direct communication from , blending her reality with surreal elements like bodily tremors and symbolic manifestations of blood and stigmata-like wounds on her hands. Her persistent attempts to influence Amanda's lead to ideological clashes and moments of intimacy, while her unravels amid growing detachment from the outside world. The narrative unfolds primarily from Maud's subjective perspective (Morfydd ), structured in two acts that shift between grounded realism and hallucinatory surrealism, employing abrupt smash cuts to underscore her fracturing psyche. A brief provides a final glimpse into the consequences of her devotion.

Cast

Morfydd Clark stars in the dual role of Maud (previously known as Katie), the titular character, a private nurse driven by intense religious fervor, with the portrayal of both her present and younger selves emphasizing the continuity of her psychological state. Jennifer Ehle portrays Amanda Köhl, the terminally ill dancer who becomes Maud's patient. The supporting cast includes as Carol, Amanda's companion; Lily Knight as Joy, a fellow nurse; as Christian, Amanda's lover; Marcus Hutton as Richard, Amanda's ex-husband; and Rosie Sansom as Esther, a member of Maud's church community.

Production

Development

Saint Maud marked writer-director Rose Glass's debut, following her graduation from the (NFTS) in 2014. Glass conceived the screenplay during her time at NFTS, initially framing it as a "love story between Maud and ," and completed it around 2017-2018. The film was produced by Oliver Kassman for Escape Plan Productions and Andrea Cornwell for Cornwell Productions, with principal funding from and the (BFI), utilizing National Lottery funds. The production had an estimated budget of £1.8 million. International sales were handled by Protagonist Pictures. was attached early to star as the titular character. commenced in November 2018. Glass drew influences from 1970s psychological thrillers such as Roman Polanski's Repulsion, Ingmar Bergman's Persona, and horror classics including The Exorcist and Carrie, blending them with literary sources like William Blake, Iain Banks's The Wasp Factory, and Fyodor Dostoevsky's Notes from Underground. Her Catholic upbringing and family connections to religion informed the narrative's exploration of faith. Conceptually, aimed to examine and through a female perspective, emphasizing the intersection of and sexuality as "much more instinctual." She conducted research into by shadowing nurses and delved into practices, including extreme penances like kneeling on inspired by South American traditions, to authentically portray the protagonist's distorted beliefs and grandiose delusions. This groundwork highlighted themes of isolation, , and the blurred lines between devotion and psychological breakdown.

Filming

Principal photography for Saint Maud took place over five weeks in winter , beginning in late . The production filmed chronologically to maintain fresh performances from the cast, with minimal rehearsals allowing for spontaneous development of scenes on set. Director prioritized efficiency due to the film's modest £1.8 million budget, scheduling all scenes featuring early to accommodate her availability before she returned to New York. Interiors were primarily shot in London's neighborhood, including a house for Amanda's residence and a neighboring converted into Maud's modest . Exteriors captured the coastal atmosphere in , where the winter weather provided an authentic bleak and windswept backdrop, though it posed logistical challenges for the crew. The production incorporated practical effects where possible, such as fake blood for key horror sequences, to enhance the film's visceral religious visions while keeping costs controlled. Cinematographer Ben Fordesman shot the film on an camera with vintage Canon K35 prime lenses, lending a gritty, textured quality that evoked Maud's unraveling psyche without relying on digital polish. On-set, Glass encouraged , particularly in intimate and emotionally charged moments, to foster natural chemistry between leads and Ehle. For scenes depicting illness, the art department consulted expertise to ensure authenticity, while drew from personal experiences with family health issues; Ehle wore a bald cap and navigated partial nudity in bathtub sequences, describing them as particularly vulnerable. herself faced physical demands early on, falling down stairs and falling ill during the first week of shooting. The principal shoot wrapped in December 2018, followed by a week of pickups and that extended into late 2019, paving the way for editing and the film's world premiere at the in September.

Release

Premiere

Saint Maud had its world premiere on 8 September 2019 at the (TIFF) in the Midnight Madness section. The screening drew strong initial attention for its elements and the lead performance by as the titular nurse, with early critical previews noting the film's tense exploration of faith and obsession. Audience reactions at TIFF were positive, contributing to buzz around Clark's breakout role and director Rose Glass's assured debut. The film continued its festival circuit with a screening at the 63rd in October 2019, where it competed in the and received an honourable mention. At the festival, Glass was awarded the Filmmaker Bursary of £50,000, recognizing her as an emerging British talent. This honour, presented on the eve of the festival, highlighted the film's impact and Glass's potential, further amplifying early awards speculation focused on Clark's nuanced portrayal of religious fervor. Prior to wider distribution, private screenings for potential buyers took place during the festival run, leading to key acquisition deals that shaped the film's rollout. Shortly after the TIFF premiere, secured North American rights on 18 September 2019, drawn by the strong reception in Midnight Madness. acquired UK and international rights around the same time, closing a global sales package for Pictures and enabling broader exposure. These deals were influenced by the festival circuit's momentum, including enthusiastic responses to Clark's performance. Originally slated for a wide theatrical release in early 2020, the film's plans were disrupted by the global , resulting in multiple postponements from April to later dates. The delays shifted the debut to January 2021 and the release to October 2020, reflecting broader industry challenges during the crisis.

Distribution

The film was released theatrically in the on 9 October 2020 by , after being delayed from an original planned date in April 2020 due to cinema closures caused by the . In the United States, handled distribution with a limited theatrical rollout on 29 2021, transitioning quickly to to accommodate persistent restrictions and reduced cinema capacity. Internationally, sales agent Pictures secured deals for the film in over 30 territories, including MUBI for select markets and Diaphana Films for , but due to the , it received no theatrical release in and premiered on Canal+ on 29 September 2021. Home media formats, such as Blu-ray and DVD, followed in 2021, with issuing the UK edition in February and Lionsgate releasing the US version on 30 November. Marketing campaigns focused on the film's aspects, with trailers building tension around themes of religious fervor and personal torment, prominently showcasing Morfydd Clark's piercing gaze in key visuals. Posters similarly centered on Clark's intense expression to evoke unease, while promotional materials and interviews tied into broader conversations about , , and . Global releases were hampered by ongoing lockdowns, which curtailed traditional theatrical windows and necessitated hybrid strategies combining limited screenings with digital platforms to reach audiences.

Reception

Box office

Saint Maud grossed approximately $1.64 million worldwide against a of $2.5 million. The film opened in the on October 9, 2020, earning $342,521 (£263,000) over its debut weekend across 355 locations, placing second at the behind Tenet. Subsequent international releases contributed to the total, with the market alone accounting for $1.15 million, followed by at $218,000. In the United States, planned an April 2020 theatrical release that was postponed due to the ; a limited run began on January 29, 2021, but domestic earnings were not publicly tracked separately and remained under $500,000. Pandemic-related theater restrictions significantly curtailed the film's theatrical potential, particularly in , leading to a hybrid model with video-on-demand availability starting February 12, 2021. While specific video-on-demand and streaming revenues are not disclosed, ancillary markets provided additional income beyond the modest theatrical returns typical of independent horror films.

Critical response

Saint Maud received widespread critical acclaim upon its release, earning a 92% approval rating on based on 195 reviews, with the consensus describing it as "a brilliantly unsettling blend of and " that marks an impressive debut for writer-director . On , the film holds a score of 83 out of 100 from 35 critics, indicating "universal acclaim" for its exploration of religious obsession and mental fragility. Critics frequently praised Morfydd Clark's transformative performance as the titular nurse, highlighting her ability to convey a spectrum of vulnerability, fervor, and unraveling menace in her feature-film lead role. Rose Glass's bold directorial style, blending with spiritual ecstasy, was lauded for its innovative fusion of intimate character study and escalating dread, often compared to Roman Polanski's Repulsion for its descent into psychological isolation. The film's sound design by and score by Adam Bzowski were commended for evoking an unnerving atmosphere, while James Fordesman's cinematography was noted for its elegant, disorienting visuals that mirror the protagonist's fractured psyche. Some reviewers critiqued the pacing in the second half, arguing it occasionally falters into deliberate slowness that tests viewer patience despite the film's brevity. Others found the religious themes heavy-handed at times, with the exploration of bordering on overt , and the ambiguous ending unsatisfying for those seeking clearer resolution on the nature of Maud's visions. In , described the film as "formally controlled and visually elegant," praising its "dark, spoiled beauty" and visceral portrayal of faith's distorting power through a shifting perspective that blurs Maud's . awarded it five stars, hailing Clark's "astonishing" turn and Glass's "electrifying" direction for crafting an "unsettling intimacy" in its of divine mission and isolation. Comparisons to and Emeric Pressburger's emerged in analyses of repressed desire and mental rebellion, as in Vox, where the film was seen as channeling similar themes of alienation through spiritual fervor. Reviewers tied the film's thematic depth to its ambiguous interplay of and divine intervention, often interpreting Maud's arc as a critique of stigma within religious contexts; The New Yorker noted how the "delusional can merge with the sublime," evoking the of faith's terror while alluding to underlying trauma without full psychological unpacking.

Accolades

Saint Maud garnered significant industry recognition following its premiere, accumulating over 30 nominations and 10 wins across various awards ceremonies from 2019 to 2021, underscoring its impact as a debut feature in the horror genre. The film's critical acclaim for its psychological depth and performances propelled these honors, particularly highlighting writer-director Rose Glass's emergence as a bold new voice in British cinema. At the 2020 (BIFA), Saint Maud received a record-breaking 17 nominations, the most in the ceremony's history, including for Best British Independent Film, Best Director and Best Screenplay (), and (). It secured two wins: the Award for Debut Director () and Best Cinematography (Ben Fordesman). The film earned a nomination at the 2021 British Academy Film Awards (BAFTA) for Outstanding Debut by a British Writer, Director or Producer (Rose Glass and Oliver Kassman). In international recognition, Saint Maud won British/Irish Film of the Year, British/Irish Actress of the Year for Morfydd Clark, and Breakthrough British/Irish Filmmaker for Rose Glass at the 2021 London Film Critics' Circle Awards, where it led all films with eight nominations. At the 2022 Fangoria Chainsaw Awards, it won Best First Feature, celebrating its horror elements. These accolades affirmed Saint Maud's status as a breakout achievement, elevating to prominence and earning widespread praise for her lead performance.

Legacy and adaptations

Stage adaptation

In 2024, adapted the 2019 film Saint Maud for , with direction by Jack McNamara for Live Theatre. The production premiered on 10 2024 at Live Theatre in and ran until 2 November 2024. The cast featured Brogan Gilbert in the lead role of Maud, alongside Dani Arlington as Amanda and Neshla Caplan as Carol. The adaptation relocates the story from the film's Scarborough setting to a fictionalized version of in north-east , incorporating a regional industrial slant while preserving the core narrative of religious obsession and psychological descent. Running approximately 80 minutes, the play merges certain film characters—for instance, assigning Carol elements of the original's —and emphasizes ensemble dynamics among the three-person cast, differing from the film's use of a single actress for dual roles in key sequences. Production elements included music composed by , projections and AV design by Phil Howarth to evoke Maud's visions through live and archival footage, choreography by Roberta Jean, set design by Alison Ashton, lighting by Drummond Orr, and sound by Matthew Tuckey. Live Theatre, the producing company, receives ongoing support from . No national tour was announced following the initial run. The stage version received positive critical reception for its fidelity to the film's tense atmosphere and immersive horror elements, enhanced by sensory details like taste, touch, and smell during scenes of . awarded it four stars, lauding Brogan Gilbert's "extraordinary" performance and the production's ability to bring the story to visceral life on stage. Reviews in and Cultured North East similarly highlighted its stylish execution and psychological depth, though some noted a slight dilution of the film's more intense religious and mortifying motifs. The production drew strong attendance at the regional venue, contributing to Live Theatre's successful 2024/25 season.

Later recognition

In 2025, Saint Maud was ranked #15 on 's list of the 25 best horror movies of the , praised for its innovative fusion of and religious fervor that creates a uniquely unsettling of and . Retrospective assessments in 2024 and 2025 have highlighted the film's prescient depiction of isolation and emotional unraveling, themes that resonated more deeply in the post-pandemic era. For instance, a January 2024 review in Cinephile Corner lauded it as one of the strongest horror entries for its pervasive sense of dread tied to personal and spiritual alienation, while an October 2025 piece in Mystery Center emphasized its haunting portrayal of loneliness as a catalyst for psychological breakdown. The film has been analyzed in contexts for its contributions to female-directed horror, particularly in examining gendered experiences of madness and devotion. A March 2024 essay in Cinephile Fix applied phenomenological frameworks to Saint Maud, contrasting it with other works to explore how it captures women's vulnerability to societal and internal "madness" through intimate, body-focused horror. Media discussions have drawn parallels to director Rose Glass's 2024 follow-up Love Lies Bleeding, noting shared motifs of obsessive relationships and bodily extremes that underscore her signature style of visceral, character-driven tension. Ongoing legacy includes sustained streaming availability on platforms like , where it continues to draw viewers for its chilling intensity, as noted in a September 2024 community discussion. Fan engagement remains vibrant on sites like , boasting over 220,000 logs and a 3.5 average rating from extensive user reviews that celebrate its atmospheric depth. While the 2024 stage adaptation extends its reach, speculation persists about further adaptations given Glass's rising profile.

References

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  24. https://www.bbc.com/news/entertainment-arts-49906749
  25. https://deadline.com/2019/09/toronto-hit-saint-maud-closes-uk-france-deals-for-protagonist-1202739609/
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  42. https://www.vox.com/22435718/st-maud-review-religious-horror-movie-recommendation
  43. https://www.newyorker.com/culture/the-front-row/saint-maud-reviewed-a-delusional-home-health-aide-trapped-in-a-horror-movie
  44. https://variety.com/2021/film/global/saint-maud-rocks-nomadland-london-critics-circle-nominations-1234883283/
  45. https://variety.com/2020/film/awards/saint-maud-his-house-rocks-bifa-nominations-1234848623/
  46. https://www.bifa.film/film/saint-maud/
  47. https://www.bifa.film/news/craft-winners-announced-for-bifa-2020/
  48. https://www.bafta.org/awards/film/outstanding-debut-by-a-british-writer-director-or-producer/
  49. https://variety.com/2021/film/news/nomadland-saint-maud-chadwickboseman-london-critics-circle-awards-1234901656/
  50. https://www.hollywoodreporter.com/news/general-news/saint-maud-leads-london-critics-circle-film-awards-nominations-4115015/
  51. https://www.fangoria.com/2022-chainsaw-awards-nominees-for-best-first-feature/
  52. https://halloweendailynews.com/2022/05/2022-fangoria-chainsaw-award-winners/
  53. https://deadline.com/2020/12/bifas-nominations-saint-maud-his-house-rocks-riz-ahmed-1234652870/
  54. https://www.live.org.uk/whats-on/saint-maud
  55. https://theatrefan.co.uk/saint-maud-stage-adaptation-announced-for-live-theatre-newcastle-october-2024/
  56. https://www.theguardian.com/stage/2024/oct/04/the-team-bringing-horror-film-saint-maud-to-the-stage-newcastle
  57. https://www.thestage.co.uk/reviews/saint-maud-review-live-theatre-newcastle-jessica-andrews-rose-glass
  58. https://www.theguardian.com/stage/2024/oct/18/saint-maud-review-rose-glass-2019-horror-live-theatre-newcastle
  59. https://www.culturednortheast.co.uk/p/review-saint-maud-at-live-theatre
  60. https://www.thestage.co.uk/news/horror-film-saint-maud-adapted-for-live-theatre-season
  61. https://innewcastle.co.uk/review-st-maud-at-live-theatre-newcastle/
  62. https://www.hollywoodreporter.com/lists/25-best-horror-movies-of-the-21st-century-ranked/
  63. https://cinephilecorner.com/reviews/saint-maud-movie-2020/
  64. https://www.mysterycenter.com/2025/10/01/on-pain-and-people-saint-maud-loneliness-and-staying-alive/
  65. https://cinephilefix.com/2024/03/04/gendered-madness-phenomenology-and-the-ethics-of-care-in-saint-maud-and-dark-water/
  66. https://collider.com/love-lies-bleeding-saint-maud-rose-glass/
  67. https://www.facebook.com/groups/movie.talk.club/posts/1734221154019294/
  68. https://letterboxd.com/film/saint-maud/
  69. https://www.theguardian.com/stage/2024/mar/04/horror-film-saint-maud-gets-stage-version-jessica-andrews-gazelle-twin
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