Avis Metacritic

The film punches out its warped drama with amazing gusto and Clark is lethally assured: not Saint Maud really, but Saint Joan, a spectacular horror heroine.

Saint Maud is a fantastic and gripping debut from an exciting new talent in the genre. Hoisted by a tight script and dynamic performances, it’s a standout title that deserves its heaps of praise.

Skirting easy cynicism to view fire, brimstone and occasional grace through Maud’s awestruck eyes, this is finally as much a sympathetic character study, a mental heath mind-map, as it is any kind of chiller. Whatever the case, it’s one hell of a debut for Rose Glass.

A slender but unholy cross between “First Reformed” and “The Exorcist."

Saint Maud is the dive into obsession, isolation and urban deprivation that you need right now.

[A] striking and auspicious feature debut ... Saint Maud seeds the clouds with an eclectic mix of influences, but it works, creating a film with its own strange weather.

Featuring a terrific performance from Jennifer Ehle and a bold, quietly nerve-shredding lead from Morfydd Clark, this is a hugely individual, distinctly British piece of genre-tweaking with a strong female focus and clear potential to cross borders between arthouse and upmarket horror sectors.

I’ve come around to Glass’s singular, purpose-filled vision – one that is intent on pushing its audience so far outside their comfort zones that you’d need a map to find your way back to baseline existence. Clark is also a wonder as the title character, playing a deluded and dangerous antihero with an unnerving zeal.

Glass keeps her audience on our toes, always surprising us, challenging us, provoking us. The film’s a marvelous thing in its own right but also a thrilling invitation to follow this filmmaker wherever she dares to take us next.

Place your faith in Saint Maud. Original, unsettling and surprisingly moving, it’s a strong calling card for filmmaker Rose Glass and actor Morfydd Clark.