Saltburn

Emerald Fennell a fait des prouesses dès son premier film, lequel lui a valu de nombreux prix. Mais comme on le sait, confirmer son succès et atteindre un objectif déterminé est souvent bien plus difficile. Or, même si Saltburn a récolté moins de prix, elle a manifestement réussi l'exercice. Le film offre une expérience cinématographique originale, non conventionnelle, parfois décadente, pour les cinéphiles avertis. Dans la première moitié, je n'arrivais pas à suivre de mes rires la salve de répliques désarmantes et humoristiques. Le film fonctionne avant tout comme un ensemble parfait – scénario raffiné, superbe combinaison d'humour et de sérieux, le montage, la photographie, les costumes et, last but not least, les brillantes performances d'acteurs. Barry Keoghan maîtrise ces rôles à la perfection, Jacob Elordi confirme ses qualités vues dans Euphoria, où il était déjà l'un de mes favoris, et Rosamund Pike se distingue à nouveau. Et n’oublions évidemment pas Carey Mulligan, qui est généralement distinguée et que j'ai à peine reconnue ici. Peut-être qu'avec le temps, je passerai à la note maximale. Et pour finir, on dirait que la danse est devenue un thème récurrent : ça a commencé avec Mads dans Drunk, suivi par Laia Costa dans Un amor et là, Barry Keoghan a élevé la barre à un autre niveau... (31/03/2024)

Un rôle typique pour l’excellent Barry Keoghan dans un drame relationnel aux accents du Talentueux Mr Ripley, dans le cadre de La Favorite avec des tubes Britpop. Cependant, la panoplie de personnages de la famille aisée que le personnage de Keoghan infiltre ne parvient pas à éveiller la compréhension, l’intérêt ou la sympathie du spectateur, et c’est là que la toile de leurs relations, cruciale pour la dramatisation du film, s’effondre. Ces relations ne sont tout simplement pas bien établies. En conséquence, le film devient une construction cynico-psychologique ambitieuse mais inefficace, avec quelques scènes intéressantes et une ambiguïté constante qui suscite la curiosité. Mais au final, même cela semble être le résultat de la même mise en scène approximative avec laquelle Emerald Fennell a réalisé Promising Young Woman. (07/01/2024)

The talented Emerald Fennel strikes again and it's a blast. A decadent, provocative, twisted, slightly perverted piece of spectacle that mixes drama with thriller and with a slight nod to art. The film won me over, entertained me and in the end shocked me perfectly. Fennel has chosen a trio of the most talented young actors of today. Jacob Elordi has been great since Euphoria, Archie Madekwe has had a decent run after See and Gran Turismo, and Barry Keoghan, well he's a proven quality actor who even has one of the most prominent roles here as a weirdo, and he is really good. We follow a strange, lonely boy with no friends who goes to Oxford where befriends the coolest guy, a rich aristocrat who invites him to spend the summer holidays at his mansion with his eccentric family. All the characters are interesting. Rosamund Pike is also perfect. The dialogues (the explanation of the moth is sheer screenwriting perfection!), the mood is really weird, the drama turns into an uncomfortable thriller out of nowhere and that's only because of the pulsating music and chilling dialogues, this is what the director does well. The vampire play and the grave scene are quite unusual. But the final impression is made even better by the final half hour, which features two shocking twists that make this film memorable. It's been a long time since a twist has knocked me out like this. And to top it off, there’s a naked dancing Keoghan like the future Joker. Yes, this was good, but you have to be prepared for it. 8/10. (24/12/2023)

The second films of directors who pick up Oscar awards and nominations for their debuts are always eagerly anticipated, and in the case of Emerald Fennell, many people may be unpleasantly shocked to learn that Saltburn is essentially rubbish. A degenerate travesty with lifeless characters whose behaviour bears little resemblance to reality, but with plenty of at-first-signal provocative scenes. Does that bother you? Not at all. Because we don't often see junk this fancy and formally dressed up. One of the most stylish films of the year, but on the other hand, I imagine that if I watched it in a different mood, it might annoy me quite intensely. (23/12/2023)

Extremely weird. This very unconventional and original theme evoking one big oddity turned out to be quite a clever game with the viewer, which shows fun, creativity, an engaging visual style and flair. Indeed, from the start the we are eagerly awaiting what is going to go wrong here and what direction the film will eventually take, since at first we have no idea what's going on. The acting duo is quite good, and I must say that we haven't seen such a perfectly acted main character on screen for a while. I like the abundant changes of styles, keeping the viewer in the dark as to what will happen next, and quite possibly “ordinary” the story ends up being, which actually makes the film quite believable fucked-up entertainment for a viewer bored with classic mainstream Hollywood. Cut 20 minutes and a bit less of the literal ending, in which for some reason they had to show us what actually happened, even though it was obvious and clear enough without that, and I would have been even happier. Nevertheless, even so, Saltburn is the best thing to come along in a while, and I quite enjoyed the overall flow, I loved watching this snobby rich family in their mansion, and I loved even more the transformation of the central nerd into. .. well, you'll see for yourself. A breath of fresh air, quality filmmaking and Barry Keoghan is literally excellent here. (17/03/2024)