Following on from her Academy Nominated film of 2020 ‘Promising Young Woman’, 2023 saw the release of Fennell’s following feature length ‘Saltburn‘ staring Barry Keoghan in, surprisingly, his first leading role. Saltburn is an erotic, tantalized satirical take on the toxic elitism of the upper-classes.

Packed with as much of the avant-garde as revulsion, Fennell makes an expectational job of luring the audience into false sense of security: a safe haven, where we can poke at the wealthy’s ignorance without too much concern, before quickly entrapping us in the claustrophobic Manor where the tale takes place, that being Saltburn Manor, where desire and disposability is just as dangerous to the characters, as it is to us.

Upon its release, Saltburn has had mixed reviews. Many have argued that the idiosyncratic, ’06 stylisation is simply an aesthetic choice and, in a cinematic era of hits such as HBO’s ‘Euphoria’ and the A24 style, cinephines are keen to condemn style over substance choices, where directors use edgy 35mm film cameras to mask a lack of character development.

It is undoubtable that Fennell’s specified era choice adds nothing to the plot however I appreciated her commitment to its individuality, whether it be the soundtrack or the Juicy Couture tracksuits, Fennell’s choice was specific and faithful, and this only helped transport me to the other-worldly location of Saltburn whilst remaining endearing with nostalgic hints. Linus Sandgren’s cinematography only enhanced this, although I doubt it’s difficult to make Saltburn Manor (actually located in Northamptonshire) and a cast that features Jacob Elordi look anything less than memorizing.

Oliver (Barry Keogahan) is a student of Oxford University. Obviously, a lot more deprived than his other nepo-baby classmates, Oliver gained his place via scholarship and its not long before he falls for his gorgeous, carelessly aloof classmate Felix (played by Jacob Elordi). They quickly form an obsessive, attached companionship, nudged with homoeroticism that proves to be the turning point of the narrative.

When Oliver tells Felix of the sudden death of his father, Felix suggests he spend the summer with him, at Saltburn Manor with his family of aristocrats. Keoghan has a knack for playing the dangerous weirdo (his performance reminded me a lot of his previous in ‘The Killing of a Sacred Deer’) Oliver seems to be a cocktail of Elio’s gentleness from ‘Call me by your Name’ and Patrick Bateman’s psychopathy from ‘American Psycho’. You never quite know where you stand with him- he is disturbingly hypnotic. It’s exciting to see Keoghan throw himself into such a taxing role, his nude scenes are embarrassing and his interpersonal work tender- whether its eroticism or mildness, Keoghan remains a captivating watch.  

Saltburn seems to be Fennell’s classic take on the aristocracy satire. It reminds me of the likes of Parasite (2019) and Triangle of Sadness (2022) where the rich aren’t exactly made to be villainous, the punchline to the joke is their ignorance and hypocrisy which always makes a slighter dig. Fennell isnt’t doing anything monumental in Saltburn, this film isn’t going to cause a political revolt and yes, other directors have done it better… however, she may have charmed me with her style, but Saltburn is deceptively captivating.

An Oxford graduate herself, the high-upper lip in Saltburn is something Fennell knows too well. I’m glad to see Fennell took the “write what you know” and ran with it. Saltburn is grotesquely farcical, over-privileged and absurd. A cocktail of deception and perversion packed with a lust for recognition. I’m not saying it’ll change your life, but it will make you squirm. 

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Lucy Speer

26th of December 2023.