Emerald Fennell’s second feature, “Saltburn,” is a seductive plunge into a Gothic realm. Following her Oscar-winning “Promising Young Woman,” Fennell crafts a contemporary British class drama that weaves a tale of obsession and emotional longing, centering on Oliver, portrayed with sinister charm by Barry Keoghan.
Set in Oxford 2006, the film unfolds as Oliver, a scholarship student, finds himself entangled in the luxurious world of the Catton family after doing a favor for Felix Catton (played byJacob Elordi). The narrative’s tragic momentum escalates during Oliver’s stay at the Catton estate, painting a darkly luscious portrait of obsession that Fennell skillfully laces with sinful elements.
Fennell’s brilliance lies in her choice to envelop the story in the trappings of a British class drama. The film’s lush imagery, captured by cinematographer Linus Sandgren, echoes the dark aesthetics of Caravaggio and the arty backdrop of Gainsborough, creating a visual language similar to an old century psychosexual thriller.
The script only contributes to the fever dream that defines Saltburn‘s surreal sense of reality. Keoghan’s towering performance as Oliver, marked by malicious glee and performative manipulation, propels the film towards its divinely kinky conclusion, exposing the sociopathic consequences of obsession.
The ensemble cast, featuring standout performances from Elordi, Alison Oliver, Carey Mulligan, and the pitch-perfect Richard E. Grant, elevates the narrative’s twists and turns. However, it’s Rosamund Pike who emerges as Saltburn‘s secret weapon, delivering razor-sharp wit and icy precision.
Emerald Fennell’s Saltburn is a cinematic triumph, delving into the dark side of societal dynamics, wealth, and the immoral pursuit of it. Unpredictably intense and thought-provoking, it’s a cinematic experience that will both unsettle and astonish.
Saltburn hit’s cinemas November 16.
Neill Frazer
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