Everyone knows that Oxford University is one of the best schools to attend in the world; they practically have their own dictionary. For Barry Keoghan’s Oliver Quick, Oliver had to claw his way to get into one of the most prestigious universities. As for Jacob Elordi’s Felix Catton, he attended Oxford with his friends because of his family’s status. However, things took a turn as both their lives intertwined.
Oliver quickly becomes drawn to Felix, and the two become close friends. As their friendship grew, Felix invited Oliver to his family estate named after the movie’s title: Saltburn. As for what happens at Saltburn, not quite nice things. Of course, it meant lazing around and sipping drinks all the time. But something else was afoot, and Oliver was going to get to the bottom of what made Saltburn and its residents tick.
I have never seen an audience wince more than seeing Saltburn at the Savannah Film Festival this year. The wow factor and painstakingly disturbing scenes of the film showcased the limits of filmmaking to me. It pushed the boundaries of representing what it means to go beyond the scope of metaphor and reality. I almost found it unbearable to watch during certain scenes. The quick cuts were also masterfully done, definitely the bloody scene. It had a very hard match cut—leaving quite a jarring impression.
It was a film of pure intellect, wit and precision. I would say it was also a mission and a half for Keoghan to play the nerdy type but in a sort of charismatic way. He definitely had the face for it, but it was also a kind of playful, childlike face. While I enjoyed his characters in Eternals and The Banshees of Inisherin, this one took the cake for showing off his range. I can’t wait to see what Keoghan does next.
I was also surprised with Archie Madekwe’s character Farleigh, who was the most high-class annoyance for Oliver. I felt like this was another example of an actor going for something different than their previous roles. Madekwe has been in notable films like Midsommar and Gran Turismo, but none of those could compare to his role in this film. The constant clashes between him and Keoghan’s Oliver were just golden, menacing and straight-up uncomfortable at times.
As for the themes of Saltburn, it would be hard to say without giving too much away. Essentially, it would boil down to class relations and conflict. While Elordi’s character was trying to repair the class conflict between Oliver, who came from a lower-middle class background, it also showed how class can be a construct that can be methodically broken down. The story of the overthrow of the aristocracy was well planned, and the ending definitely had a full-circle moment of joy and glee. It was also a respite from the toil Oliver had endured and enacted.
The mood and colours of the film were another solid hit. At moments, it seemed washed out. But in others, it could be vividly lit—yet eerily had a dark miasma surrounding certain scenes. I thought the score and music were purposeful. The ending song just tied everything at the end perfectly. The moments of silence were also carefully chosen, adding to the unsettling moments.
What made Saltburn an interesting watch from the opening scene to the last was the aspect ratio of the film. A unique 1.33:1 aspect ratio was used, with cinematographer Linus Sandgren (La La Land, First Man, Babylon) at the helm. Director Emerald Fennell explained that they shot it this way to make it feel like the audience was peering into Saltburn’s world. Fennell really understood the challenge of giving a more modern take on an upper-class takedown story with this meticulously crafted tale.
If I had to sum up Saltburn, it would be that it will be a challenge to witness the greatness that it is. Some of the harder scenes may be almost unbearable to watch, but trust me, the rewards will be worth it. This is a must-see for anyone who likes to see a character make interesting choices, on the same level as Netflix’s You or 2000’s American Psycho. Everything about this film felt, in a strange way, like a masterpiece, and Keoghan’s performance will be seared into my memory.
