Film review: Saltburn

I went to see this on Wednesday evening with my husband and we expected it to be unsettling, but weren't prepared for this movie.

IMDB says: A student at Oxford University finds himself drawn into the world of a charming and aristocratic classmate, who invites him to his eccentric family's sprawling estate for a summer never to be forgotten. 

In this thrilling drama (also billed as comedy on IMDB but am unsure why, unless it was the excellently delivered Elspeth line "I was a lesbian for a while you know, but it was all a bit too wet for me in the end. Men are so lovely and dry.") written, directed and produced by Emerald Fennell (Killing Eve, Promising Young Woman) and also produced by Margot Robbie (Barbie, The Wolf of Walls Sreet), Barry Keoghan (The Banshees of Inisherin, Dunkirk) stars as Oliver, the classmate who is invited to spend the summer with Felix (Jacob Elordi: Euphoria, Deep Water) and his family, cousin Farleigh (Archie Madekwe: Gran Turismo, Midsommar) mother Elspeth (Rosamund Pike: Gone Girl, Made in Dagenham) father James (Richard E Grant: Withnail and I, Gosford Park), sister Venetia (Alison Oliver: Conversations with Friends, Best Interests) and Poor Dear Pamela (Carey Mulligan: Never Let Me Go, Suffragette).

There is a suffocating style to the film, and a disturbing ambience that is felt from even the trailer, coupled with a luscious backdrop from the advantages of Oxford to the pampered upper class sumptuous vibes of Saltburn itself which takes a hold of you and never loosens its grip. 

Outstanding performances from all of the lead players, and even the creepy original friend of Oliver and hanger-on girlfriends from the University, to the sinister butler played by Paul Rhys (Chaplin, Victoria), help to keep the simmering underbelly of discomfort constant.

Disturbing scenes of sexual depravity, cruelty and indifference mix with sprawling decadence, unexpected kindness and tragic decisions, taking you from feeling Oliver's worship of the beautiful, privileged Felix, via empathy following Farleigh's digs and casual cruelty (Elspeth's "She'd do anything for attention" after learning of her friend's suicide) and uncomfortable drug and alcohol fuelled excess (the bathroom mirror scene and toilet bowl in particular) to the out-and-out sickening emptying bathtub and newly dug grave scenes which will be forever seared to my memory despite hiding behind my hands.

Kudos to Irishman Keoghan for his full-frontal 'Murder on the Dancefloor' scene and excellent Liverpool accent, to Australian Elordi on his perfect plummy English accent and nuanced, sympathetic performance and to Mulligan for her drug-addicted socialite role which is small but unforgettable.

This film will stay with you, but not necessarily for the right reasons.

 Tagline: A beautifully wicked tale of privilege and desire.

7.5/10