Fennell's 'Saltburn' Dives into the Chilling World of English Aristocracy

“Saltburn”, the sophomore cinematic effort from director-screenwriter Emerald Fennell, was screened at the Academy Museum in Los Angeles on Tuesday night, where Fennell gave a Q&A. Fennell, whose debut feature “Promising Young Woman” earned her Oscar nods for Best Picture and a win for Best Screenplay, shared her insights on her latest film.

Set far away from Hollywood, the storyline of "Saltburn" orbits around Oliver, an Oxford University student played by Barry Keoghan. Oliver establishes a relationship with the aristocratic Felix, incarnated by Jacob Elordi. A visit to Felix’s family home immerses Oliver and audience in the peculiar world of British upper-class elites.

The film features a cluster of performances by reputable actors, including Rosamund Pike and Richard E. Grant as Felix's parents. Archie Madekwe portrays Felix’s biting cousin, with Alison Oliver as Felix’s wayward sister. Fennell's previous collaborator Carey Mulligan from “Promising Young Woman” also features in a gripping but brief role as an unhinged guest.

During the Q&A, Fennell unveiled the intricate motivations of her protagonist, Oliver. She expressed that Oliver “has worked his whole life to get to this place, to get to Oxford, this place that he’s fantasized about." However, even upon reaching his coveted destination, he struggles to integrate with the posh crowd, even decked out in an official college attire of blazer, tie, and scarf.

The temporal setting of the film is in the aughts, a detail clearly reflected in the wardrobe, according to Fennell. She discussed the essential role of costume designer Sophie Canale in capturing the fashion nuances of that British elite youth, such as characters sporting two polo shirts simultaneously - an iconic fashion quirk of that era.

Fennell shared her vision of the film as "vampire film": a tale about an outsider striving to absorb the life he fancies. The theme mirrors elements of vampirism in pushing the narrative between Oliver and the privileged family of Felix. Fennell also nodded to artwork by Caravaggio as visual inspiration for the film, elaborating on the desire for a stylized, beautiful aesthetic that echoes the fetishization of beauty.

Although possessing a paid-up membership to the Writers Guild of America, Fennell demurred at compliments on her script, in solidarity with current WGA strikes.
Fennell concluded with a shout-out to WGA, expressing her support and hoping for a successful resolution. "Saltburn" is set to hit US theaters from November 24th.

Now, with pure objectivity safely tucked away for the day, let's dive into the deeper end of the cinema.

Ladies and gentlemen, grab your clove garlic necklaces, because Emerald Fennell is inviting us to a posh vampire film hidden away in the English aristocracy. And if you're envisioning a fusion of "Pride and Prejudice" meets "Twilight," you'd be disappointingly off the mark.

Fennell, through her protagonist, Oliver, peels away the well-manicured exterior of the upper-class British, exposing its haughty underbelly. It's like peering into a living oil painting, filled with deep hues, wide strokes and an opulence tinged with an ominous brush.

The beauty Fennell crafts through her aesthetic vision is mesmerizing, reminiscent of Caravaggio's art. However, beneath the stunning facade lurk layers of biting commentary on class, status, and the perils of obsessive aspiration. It's an intricate tableau of beauty and beastliness, so flawlessly intertwined you can't tell where one ends and the other begins.

While Fennish stands in solidarity with the striking Writers Guild of America, let's take a moment to appreciate her double-edged sword of a script. Subtle yet sharp, it cuts through the heart of societal norms and expectations with the cool precision of a skillfully wielded scalpel.

"Saltburn" is the sizzling successor of "Promising Young Woman," offering another slice of Fennell's distinct voice and worldview. Cancelling other plans on November 24th might just be the turkey you choose not to overlook this Thanksgiving. After all, Fennell's cinematic feast promises to be more than just a movie; it's a commentary on society, a reflection on aspirations, and a jarring reminder of the cost of fitting in. No extra stuffing needed.