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The best films of 2021 so far

The best films of 2021 so far
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Clockwise from top left: Judas And The Black Messiah (Photo: Warner Bros.), The Mitchells Vs. The Machines (Image: Netflix), No Sudden Move (Photo: HBO Max), Saint Maud (Photo: A24), The Disciple (Photo: Netflix), In The Heights (Photo: Warner Bros.), Barb & Star Go To Vista Del Mar (Photo: Lionsgate)
Graphic: Natalie Peeples
It’s difficult to say, from the limited vantage of our present moment, if movie culture is going to return to the “normal” of a pre-COVID world. Yes, theaters are open for business again, and Hollywood has started flooding them with would-be blockbusters once more, banking on audiences being ready to return to the big screen for some big spectacle. But setting aside the possibility of a new spike and a return to quarantine conditions, the lost year of 2020 also seemed to accelerate changes in distribution strategy that were already happening, just a little slower. Which is to say: There’s a good chance that a future where nearly all movies go to streaming has already arrived. Or maybe not. After a year and a half indoors, maybe the world is primed to give the theatrical experience a major second life.

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What to Watch: The best movies on Amazon Prime Video (June 2021)

What to Watch: The best movies on Amazon Prime Video (June 2021)
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Writer-director Rose Glass on the holy terror of Saint Maud

Photo: A24
Appropriately enough for a film whose horror is rooted in nightmarish twists on Christian theology,
Saint Maud has risen again. Following its buzzy debut at TIFF in 2019, the film—which we summarized in our review as “a blend of talky chamber drama, Paul Schrader-esque character study, and visceral body horror”—was picked up by A24 and scheduled for a release in March of 2020. Then, well, you know. But now, 11 months later,
Saint Maud is finally out on VOD, and our interview with Glass, conducted back in April of last year, is being published.
Saint Maud stars Morfydd Clark as the title character, a home nurse in a chilly English seaside town whose newfound piety—and new job—are the direct result of the film’s enigmatic opening scene, which sees Maud crouched in the corner of a hospital room with her hands covered in blood. Now working in the private sector, Maud is assigned to Amanda (Jennifer Ehle), a retired dancer with only a few months left to live. Closed up in Amanda’s dusty mansion, the two become close—until Maud casts a what seems to be a disapproving eye at Amanda’s affair with Carol (Lily Frazer), a young woman from town.

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