**_Emotionally ambiguous, thematically complex, aesthetically daring – an exceptionally accomplished directorial debut_** >_Anyone who has the power to make you believe absurdities has the power to make you commit injustices._ - Voltaire; _Questions sur les miracles_ (1765) > _We all have a tendency to think that the world must conform to our prejudices. The opposite view involves some effort of thought, and most people would die sooner than think._ - Bertrand Russell; _The ABC of Relativity_ (1925) > _People are never so completely and enthusiastically evil as when they act out of religious conviction._ - Umberto Eco; _Il cimitero di Praga_ (2010) Is religious fanaticism a form of mental illness? The "Four Horsemen" of New Atheism—Richard Dawkins, Daniel Dennett, Christopher Hitchens, and Sam Harris—would likely argue that it is. However, from the perspective of someone deeply devoted to their faith, such fervor can feel not only logical but also unavoidable; they don't choose to be fanatical, they are driven to it, regardless of how strange their actions may appear. The disconnect between a fanatic’s beliefs and those of others forms the central question explored in _Saint Maud_, Rose Glass’s remarkable first feature film. Combining elements of horror, psychological thriller, character drama, and religious examination, _Saint Maud_ can be interpreted in many ways—as an exploration of how faith interacts with one's sense of self, a lament for a young woman experiencing a mental breakdown, a story about loneliness, a study of the importance of friendship, or even as a tragedy concerning the fragility of the human body. The narrative is primarily (though not entirely) told through the eyes of a devout Christian, and allows for the possibility that her fanaticism isn't a sign of illness at all, and that perhaps God truly is communicating with her. This skillfully managed uncertainty becomes the film’s greatest strength. Disturbing, frightening, challenging, unpredictable, emotional, and occasionally humorous, it establishes its own unique path and represents an exceptionally impressive directorial debut. The story unfolds in a bleak English seaside town (filmed in Scarborough, though unnamed), where we meet Maud (played with intense physicality by Morfydd Clark), a recent convert to Roman Catholicism. She believes that all of humanity is immoral, driven by lust and wickedness, and can only be redeemed through a true savior. Could she be that savior? It seems possible, as God has told her he has special plans for her. Before fulfilling this purpose, Maud works as a private palliative care nurse, explaining to God (through voiceover prayers) that caring for the dying with kindness and dignity is akin to saving their souls. The story begins when Maud starts her first assignment with Amanda Köhl (Jennifer Ehle, consistently excellent), a former world-renowned dancer and choreographer suffering from advanced spinal lymphoma. Amanda has a reputation for being sharp-tongued, but she and Maud initially get along well—Maud admires Amanda’s strength and zest for life, while Amanda seems willing to help Maud loosen up. However, there are aspects of Amanda's life that Maud disapproves of, such as her smoking and drinking, or the frequent visits from Carol (Lily Frazer), Amanda's much younger lover. As time passes, Maud begins to exert increasing control over Amanda’s life. Meanwhile, although God continues to promise Maud that she will be called upon, she grows impatient waiting. Facing the possibility of painful memories resurfacing, Maud decides to demonstrate to Amanda, God, and everyone else just how far humanity has fallen and how truly sanctified she is. Although Maud holds strong religious beliefs, Glass avoids portraying her as a purely irredeemable figure, instead suggesting that such individuals genuinely believe they are communicating with the Divine. This echoes the idea that someone experiencing psychosis may not recognize their own condition—Maud might

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