Director’s aristocratic follow-up to Promising Young Woman opens Austin Film Festival
has been compared to the standard novels of the English gentry – the homoeroticism of E.M. Forster, and Evelyn Waugh's end-of-an-era mournfulness – darker-minded dramatists loom over their shoulders. The scathing sociological insights of Harold Pinter. The twisted psychosexual politics of Joe Orton."It's impossible for me to not acknowledge what comes before," the writer/director noted,"to pretend that this exists in a vacuum.
When Felix opens the gates of Saltburn, the family estate, to Oliver, the question is whether it's a spider inviting the fly into his web or the innocent bird hosting a cuckoo in its nest. Regarding that clash between depravity and naivete, Fennel mentioned Hilary Mantel's historical novel"and what she said about being in the court of the king being like playing with the lion.
However, whatever the period, Saltburn Manor itself represents a particular convention of the genre: the stately home that operates outside of time. It's not so much a building as a system, above the petty concerns of those that connive and scheme within its oak-paneled and curtain-draped walls."It's a place where things are cleaned up without you even knowing," she said,"where mirrors that are broken in the night are magically fixed. ...
However, don't ask her where the real Saltburn is, because she's not telling. All she gives away is that it's somewhere that has never been seen onscreen before."It needed to feel like a discovery," and that was challenging"because one of our most successful exports has been the British country house in our media, so we're very, very familiar with them. So it was about finding somewhere deeply special that felt like a secret place.
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