Our review of Saltburn - Emerald Fennell’s sophomore film surprises, shocks, and satisfies, but it’s not for everyone

2023 proved to be a great year for cinema, with ‘Barbenheimer’ being the topic of the summer and new entries in the Indiana Jones, Hunger Games and Mission Impossible franchises seeing commercial success, but the best may have been saved for last.

Saltburn has attracted a stigma in recent weeks for being a weird, elaborate film that is uncompromising in its use of graphic imagery, but in reality it’s a perfect example of how tone, world-building and presentation can elevate a film past its somewhat simple narrative.

Where Greta Gerwig’s Barbie was littered with social commentary, wrapped in a whimsical world of eye-catching colour, Emerald Fennell’s Saltburn takes that philosophy and wraps it is something far more challenging for the viewer.

The former digs into the nuances of the patriarchy yet the latter is a cheeky, but stark take on toxic elitism, and the disconnect that comes from contrasting social classes. It’s been compared by many to The Talented Mr Ripley, but its fish-out-of-water narrative and use of uneasy alliances even draws parallels to Dracula.

Oliver Quick, a seemingly unassuming and nervous new starter at Oxford University is taken under the wing of the charismatic and popular Felix Catton (Jacob Elordi), and invited to spend the summer at his family’s home, Saltburn. From there, Oliver finds his place in the house’s hierarchy, and the themes of obsession and desire rise to the surface.

Much like Emerald Fennell’s debut picture, the critically admired but commercially overlooked Promising Young Woman, Saltburn deals with obsession, but also handles the topic of lust and power, sometimes in ways that are shocking to viewers.

Those moments (and you’ll know them when you see them), no matter how graphic, rarely feel out of place in the film’s wider tone, though, as each feels like the power is shifting, and that Oliver is slowly drawing the lifeblood from a family that is so filthy rich that it seems untouchable.

A strong central performance from Barry Keoghan (The Banshees of Inisherin, Dunkirk) as Oliver is eclipsed only by Rosamund Pike’s (Gone Girl, The World’s End) portrayal of family matriarch Elspeth Catton, a woman so suffocated by her own wealth that it’s made her insular, overconfident, yet completely oblivious to anyone’s thoughts or feelings, despite wanting to be seen as empathetic and kind-hearted.

The writing is razor sharp, and the use of humour is inspired. Saltburn knows that subtle, off-hand comments can garner as much of a laugh as the most elaborate slapstick sketches.

The film also makes the bold choice to be presented in 4:3 ratio, and though this can be jarring in the opening few scenes, the smooth cinematography and frequent use of profile shots help make it stand out, even among the most creative films of 2023.

Saltburn hits close to home, particularly for people in Northamptonshire as Drayton House in Lowick is used as a the titular stately home. It’s the second time a prominent filming location in the county has been used recently as much of Ridley Scott’s Napoleon biopic was filmed at Boughton House in Kettering.

Saltburn is bold, creative, and challenging in ways few films manage to replicate, and a perfect example of why cinema needs to be more than just by-the-numbers blockbusters. Art has to be thought-provoking in order to be remembered and, for better or worse, Saltburn is the most memorable film of 2023.

It isn’t for everyone, far from it, but as the film industry shifts to a murky shade of beige thanks to cookie-cutter big-budget offerings, it’s refreshing to have something so divisive.

Those who want to experience the film on the big screen will have the chance to do so at The Castle Theatre on Thursday for one night only. It might seem like a good idea to use the opportunity for a family day out, but it’s best to leave the kids at home for this one.

Tickets can be booked here.