Is Saltburn Provocative Art or Fodder for Shock Value? And Why is No One Talking About the Burial Scene?

Saltburn is perhaps the most disagreed-upon film this season. To some, the film has been so disturbing that people have walked out, while some audiences have greeted the film with applause. Critics disagree – is this provocative art or fodder for shock value? No matter what side of the fence people are on (and there seems to be no middle ground), people are talking about it. This is Emerald Fennell’s second major film, following her other provocative piece, Promising Young Woman. Fennell wrote, directed, and co-produced Saltburn with extreme attention to detail. The result is a Shakespearean tragedy, with sexuality, bloodshed, nuance, and a killer soundtrack. On the surface, with the beautiful cast, the sexual situations, and the clever script, it first appears like an artistic and envelope-pushing celebration of the Seven Deadly Sins. When you think about the film and trust me, you will think about this film a lot after seeing it, it becomes a statement on society and class, all under the guise of a psychological thriller.

Set in 2006, the story (without giving away any plot details) is simple enough. Oliver Quick (played by Barry Keoghan, hot off his award-nominated performance in The Banshees of Inisherin) comes to Oxford as a nerdy, lower-class outcast who finds it hard to make friends and fit in. The student body is made up of rich, snobby kids who make sure Oliver knows his place. Upon seeing the impossibly gorgeous Felix Catton (Jacob Elordi from Euphoria fame) in the student yard, he becomes obsessed with Felix. We wonder, is he in love with his good looks and popularity, or does he want to be him? Oddly enough, Felix befriends Oliver, taking him under his wing and sharing moments that could be considered homoerotic. We certainly see enough of Felix to set the scene. We think we know where this is going, but clearly, we do not. Felix invites Oliver to his family estate, Saltburn, for the summer. The estate is no humble abode. It is sprawling and gothic, with hidden rooms, a garden maze, creaking doors, and artifacts from generations before. Oliver meets and enchants Felix’s parents, Sir James and Lady Elspeth (played by Richard Grant and Rosamund Pike). Also visiting the manor are Felix’s sister, his cousin, and family friend Pamela (Carey Mulligan). A lead butler and soundless staff spookily curate the house.

While the Sir and Lady are bemused by Oliver’s lower-class ways and fashion, the rest of the household is not so eager to welcome him with open arms. As the summer progresses, the characters all start unraveling, and we see the cracks and ugliness that lie under the good looks and money. The house slowly turns into a madhouse. Oliver’s obsession with Felix grows in intensity, from watching him have sex to watching him masturbate, to needing to be by his side at every minute. Is Felix aware? Is he toying with Oliver? Is Felix so narcissistic that he feeds off Oliver’s attention, regardless of his sexuality? Felix starts to solidify his place in the house and by Felix’s side by engaging in questionable activities with the rest of the house guests. For a while, it is like being at the Mad Hatter’s tea party. Drugs, sex, parties, and money drip from the ceiling in a tempting, wild ride until it turns on a dime to bloodshed and tragedy. No one is victimless in this story, except perhaps Oliver. Or is Oliver still a victim in all of this? Filmmaker Fennell told Vanity Fair that she wanted the audience to sympathize with unlikeable people, stating “the sorts of people that we can’t stand, the sorts of people who are abhorrent—if we can love them, if we can fall in love with these people, if we can understand why this is so alluring, in spite of its palpable cruelty and unfairness and sort of strangeness, if we all want to be there too, I think that’s just such an interesting dynamic.”

Whether you like the film’s content or not, there is no denying that this is a powerful ensemble with no weak players. There is an exaggeration in the presentation of these characters, but also a dark core that must be played with skill and sincerity. There are witty one-liners that would make Karen Walker jealous, but that would not be enough to sustain these characters. Masterfully directed, these actors must play all sides of the tragedy with equal vigor and reality, while maintaining the heightened drama of it all. The leads, Barry Keoghan and Jacob Elordi, not only exude the sexuality needed for the occasion but also draw us in with this dark intensity that builds up to a surprising end. Their chemistry is palpable, and handling the duality of their characters is done with care. At times we are attracted to them, at times we hate them, at times we pity them. Without their performances, the rest of the film would just be a raunchy affair. Barry Keoghan received the Golden Globe nomination, and deservedly so. As Oliver, he is given the most to do in this tale. His innocent surface belies a personality that is both horrific and attractive. Handling the sexual situations with style, he makes the sex part of the power struggle at play. He is naked on the screen, both figuratively and acting-wise. He is raw, he is intense, and completely captivating to watch.

As Sir James and Lady Elspeth, Richard Grant and Rosamund Pike almost steal every scene they are in (Pike also received a Golden Globe nomination for her performance). Initially presented as rich, out-of-touch socialites, their visage is viscerally ripped away, and we see them at their core. Their performance is a master class in acting. A special shout out to Carey Mulligan in her all too brief appearance as the family friend. She is kooky, beautiful, and brilliantly crafted. Unbelievably, she is the most normal of the housemates. This ensemble is brilliant, and everyone is in on the atmosphere that Fennell has so artfully created.

Ok, let’s talk about the sex that everyone is freaking out about. While the film is extremely sensual and graphic, there is actually very little actual sex. That is the key. The movie is one big build-up, the audience feels the tension waiting for the characters to fulfill their own desires. Us wanting them to fulfill these desires is a statement in itself. We still want these seemingly awful people to hook up. Does that make us awful as well? Fennell uses sex and the graphic nature of what we are seeing as a tool to show the characters as they truly are. Sex is used to control, it is used to show power, it is used to manipulate, it is not there to be pleasurable. How often do we succumb to these sexual manipulations in our own lives, regardless of our class, gender, or sexuality? The scenes that have been called out for being disgusting are actually beautifully done in both cinematography and direction. If you are just paying attention to what is happening, you are missing out on what it is actually saying. There is a graphic intensity to show us just how dark these characters are. And yes, some of the situations are homoerotic, but that isn’t the point. It isn’t a gay film, it isn’t a straight film. It’s about the power of sex and greed and how it can make victims of us all.

Fun fact: To add to the mystique of the Saltburn estate, Fennell insisted on using an estate that had never been seen in film before. Established in 1328, the property has only been passed down through inheritance since it was first sold in 1361. The contract for the film prohibits the estate from being used for future productions. Curious indeed!

This film is a head-trip for sure, but a fun ride for those that can stomach it. I do consider this film an art piece. It is about class struggle, the ugliness that can reside in us all, the power of greed, and questions motives of love versus lust. Visually the film is stunning, the acting is prime, and no matter what your opinion of the film, it is an experience. Your heart starts to race while the audience becomes uncomfortable and shifts in their seat. This will make you run the movie over and over in your head trying to figure out what the hell happened. If you consider Barbie intense social commentary, you may not like this film. But still go see it. This film is now streaming on Amazon Prime, the film only received a short time in theaters. Go see it in the theatres on the big screen to fully immerse yourself in the story without distraction. Fennell filmed Saltburn in a 1.33:1 aspect ratio to give the feeling that the audience is peeping in. Peep if you dare.

Saltburn – Pass or Smash?  SMASH.

Photos: MGM and Amazon Studios