It could be set in Los Angeles and the court, rather than being a stately home, is a compound of an incredibly famous actor and actress. "If you’re allowed in these places, it’s never a one-way ticket.
“There was a world where ‘Saltburn’ might have been set in the Hamptons," Fennell says. To her, “Saltburn” is more about those anxious undercurrents among family, friends and hangers-on, each playing by unspoken codes of money, class and privilege. “The fascinating thing about these sorts of systems in general, both in America and in England, is that nobody ever really knows whether they’re in or out.” “I was kind of like Oliver, mostly outside of it but occasionally having seen it as well,” Fennell says.
In that first pandemic year, it went on to be nominated for five Oscars including best picture and best director. The opportunities were many for Fennell after the success of “Promising Young Woman.” The film, a blackly comic feminist revenge thriller starring Carey Mulligan, was one of the most talked about movies of 2020. I just thought immediately: Who is that?” It’s a kind of once-in-a-lifetime arresting performance. “I saw Barry in ‘Killing of a Sacred Deer’ and I just couldn’t believe it,” Fennell said in a recent interview from London. But it’s also a rare leading performance for Keoghan, himself coming off an Oscar nomination for “The Banshees of Inisherin.” Already some of his scenes - one involving some leftover bathtub water, one a fresh grave - have added to the early buzz around “Saltburn.” Several in the cast give standout performances - especially Rosamund Pike, who plays Felix’s mother. Things get steamy, weird and dark as Fennell toys with class as she did with gender in “Promising Young Woman.” In the summer of 2006, Felix invites Oliver to his family’s estate where he fits in sometimes awkwardly and sometimes smoothly but increasingly eerily with the extravagant flow of life. Their relationship has strong echoes of “The Talented Mr. It stars Barry Keoghan as Oliver Quick, an Oxford University freshman on a scholarship who’s drawn to a dashing, aristocratic classmate named Felix Catton (Jacob Elordi). Like that film, “Saltburn,” which Fennell wrote and directs, includes Margot Robbie as a producer. That was her as Midge, the pregnant doll, in Greta Gerwig’s “Barbie.” (Fennell, alas, said she couldn’t comment on her role in “Barbie” due to the actors strike.) And given the bleakly vengeful conclusion of her provocative debut, it’s safe to say that things get quite a bit bumpier at Saltburn than they ever did at Downton Abbey.įennell has already been a memorable part of one conversation-starting film this year. 24, Fennell applies her particular and potent brand of pressure to the one of the longest standing British genres. In “Saltburn,” which opens in theaters Nov. “It felt like an incredibly well-worn and therefore intriguing genre to start looking at and applying pressure to.”
#Eve echoes fits movie#
“I really wanted to make a movie that was a take on the classic English gothic story,” Fennell says. And when the dust had settled on “Promising Young Woman,” her incendiary Oscar-winning directorial debut, Fennell, too, wanted to make her way to a fictional stately manor.
These are some of the books that Emerald Fennell grew up devouring. “Brideshead Revisited.” “The Go-Between.” “Remains of the Day.” “Rebecca.” NEW YORK - Countless English protagonists have for decades been making their way to grand country estates where their lives are irrevocably changed.
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