July 7, 2021
Maud (Morfydd Clark) was a newly-converted and very pious Roman Catholic young woman who worked as a private palliative care nurse. Her latest patient was 49-year old Amanda Kohl (Jennifer Ehle), a dancer and choreographer, who was suffering from stage four lymphoma of the spine, which rendered her paraplegic and terminally ill.
Maud thought Amanda's artist friends, particularly her lesbian lover Carol (Lily Frazer), were not good for her. However, in return Amanda regarding Maud with mockery and disdain, eventually dismissing her from service. This led Maud to go down a dark lonely road of physical and psychological self-destruction, borne out of her extreme religious fanaticism.
Morfydd Clark's performance of Maud was incredible achievement in acting. Clark actually transformed into this mentally-disturbed woman who was experiencing the horrors of a guilt-tormented soul. She only spoke very little, and if she did, she was speaking with God. Maud's prayers, from her fervent adoration of His glory, her desperate questioning of His purpose for her to her perceived understanding of her divine mission, served as the film's narration.
Aside from being intensely contemplative and psychologically demanding, this role was also a very physically exhausting one for Clark, . Maud was inflicting wounds on herself -- her hands and her feet, all symbolizing of her psychiatric breakdown from a traumatic past experience. Maud's climactic confrontation scene with the bedridden Amanda was truly horrific, and we see it all transpire from Maud's distressingly distorted point of view.
This dark and depressing British indie film may not be for everybody, but it was certainly a triumph for writer-director Rose Glass in her feature film debut. With Glass's inspired choices in cinematography, editing and musical score, even the most mundane scenes were all shrouded by a tense atmosphere dripping with a sticky sense of claustrophobic discomfort. That final scene on the beach was glorious and ghastly at the same time! 8/10.
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