Saltburn

Saltburn is a perverted fairytale of manic infatuation and greed dusted with toxic glitter and coated in splotchy fake tans stuffed into the world of contemporary British classism.

Oliver Quick, a scholarship student in the class of 2006, descends on the prestigious Oxford to begin a new life. Oliver is a bit of an outsider blending into the background as he struggles to make friends with his classmates. He believed that if he worked hard to get here, then the rest would unlock for him but the realization hits that this is not how life works. The harsh reality is no matter how hard you work, sometimes you will never earn what you aspire for. The radiant, wealthy Felix Catton catches his eye leading him to crave a spot in his orbit. A meet-cute between the two boys is the start of a tumultuous, tragic obsession spent at Felix’s luxurious family estate, Saltburn.

Fennell and cinematographer Linus Sandgren redefine the flat filmmaking of the 2000s with textured visuals that ooze the elegance of a Jane Austen film adaptation with the soul of Superbad. The success of this narrative falls to the framing, specifically with how it communicates the idea that we are always being watched even in our most vile moments alone. Sandgren provides a baroque gloom almost vampiric in nature amongst the lingering close-ups that evoke thirst and claustrophobia. From the visuals, you can feel the humidity transcending the screen as you plunge into an inescapable summer stay. The use of mirrors and reflections fuels the sense of paranoia amongst the insanity of Saltburn that is the reality to those who inhabit the grounds.

For a film of this wicked caliber, it is really up to the cast to be fully committed and understanding of the material, and this cast just gets it. Barry Keoghan as Oliver takes a risky move in his career as he masquerades his manipulation through his sad, innocent eyes. Keoghan fully gives himself over to Fennell’s script in doing whatever is necessary to depict obsession and lust. The magnetic pull of the sprawling estate seduces a sinister campaign out of Ollie to pull power over his eclectic hosts. The entire film leaves you guessing whether Ollie is actually attracted to Felix or simply wants to absorb him to become a higher power as intimate moments are sprinkled throughout suggesting one of the two.

Some of these choices could feel utilized only for shock value, but it is Emerald’s writing that makes it feel normal due to how this character operates. Oliver is the eyes and ears for the audience at every step of the way no matter how you feel morally, this is the person you are trapped with for the runtime. This is not so much a revenge narrative, but more so exploring the idea of these famous people we observe through different lenses, people for some unexplainable reason we might not like them but we want to be them. Even when Ollie almost loses out on the thing he wants most, the way Keoghan shifts to desperation is startling as it confirms he is someone who will submit to stay in power. Keoghan’s facade cracks as he has followed every order to become apart of this lifestyle, but as long as these people are around they will always block him. When desperation takes hold people dilute to the ugliest version of themselves when wealth is on the table, and Fennell visually taps into this through Keoghan. This film isn’t asking you to justify his sociopathic actions but to uncomfortably embark on how far an obsession will push someone and what are the eventual consequences.

Jacob Elordi is a dreamboat playing Felix, a charming rich boy who wins people over through his boyish appearance. The script is excellent in creating intrigue over Felix and as you spend more time with him you start to realize there is not much more behind his looks. He is boring, but to Oliver, he is the epitome of everything he wants in life. While Elordi is dripping with sex appeal in every single scene, one of the big reveals where he is fully dressed is perhaps his best work. The camerawork and editing just bring his performance to life as he also dons a mask to hide his discontent with Oliver. The subtle smirks say so much.

Rosamund Pike is truly a comedian, and Fennell finally gives her a moment to flex this power. Deadpan deliveries of her chilling lines cause commotion from any audience watching this on the screen. Richard E. Grant is perplexed at all times and it works brilliantly. These are the entitled parents of your dreams.

Emerald Fennell asks her audience to surrender over to Saltburn as you complicitly fall into line with what is before you. While your trust is earned because you think you know where this is going based on the many film references, the script breaks its bond with you leaving you to question everything as shifts and twists fill out the final act. The true treasure of Saltburn is simply Emerald Fennell. Building a film around the idea of excess, you can’t have any reservations and Fennell simply does not. The script and her precise direction speak to how well concocted this world she created is. While very fantastical, some elements keep it grounded in almost a heightened reality. It's not campy nor is it trying to be, her cast knows they aren’t play archetypes but real people.

The craftsmanship of this film deserves the world in its ability to recreate the exact year 2006 from the layered belts, nostalgic needle drops, and gaudiness of glamour before the market crash of 2008. The timing of this film coming out during the romanticization of the early 2000s could not have been more perfect. The attention to detail is immaculate from marking the specificity of 2006 with it being the last year people could smoke inside and the Harry Potter books sprinkled into the set dressing. It is the height of McBling wealth that the 2000s have never looked better and worse than they do in Saltburn. She simply reminds us that the early 2000s are now considered a period piece and perfectly capsules it for future generations to uncover.

Saltburn is intense and can lean into disturbing, but Fennell understands the lengths of obsession crossing over into the ultimate consumption of your victim. With two films in her filmography, she has proved to be a master at endings. Ending this tale with a sick psycho as the victor seen through Keoghan nakedly strutting in reverse order to when he first arrived in Saltburn as he has finally achieved the one thing he has desired for so long is weirdly cathartic.

Fennell is unafraid to tap into weird territory in her filthy fetish of wealth full of endless visual layers and homages that solidify Saltburn as a mark on cinema.