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Last Night in Soho: we saw the horrific and fantastic delirium of Edgar Wright


After a prestigious Cannes festival, Ecran Large has decided to take a tour of the Venice Lido for the 78th edition of the Mostra. Yes Dune there was the great expected movie (and our review is already there), the rest of the selection is just as crazy. As the festival unveils its films a little more each day, it’s time for us to give you our hot opinion on Last Night in Soho, horrific and fantasy thriller presented out of competition.

What is it about ? Eloise aka Ellie is a young woman passionate about fashion and design, and when she receives a letter announcing that she is accepted into a prestigious London school, she leaves her native countryside to make her dream come true. But all is not rosy on the spot and to better comfort herself, she escapes in the London of the Sixties which she cherishes so much for her music and her style. But venturing out for too long could have unprecedented repercussions, and his fantasy become a pure nightmare.

Be careful not to venture too far

How was it ? It is an understatement to say that this new film of Edgar wright. After concluding his Cornetto trilogy with The Last Pub before the end of the world, the filmmaker had immersed himself in an ultra-rhythmic musical game with Baby Driver, plunging the viewer into a story mixing comedy and action, romance and thriller. Themes that he knows only too well from which Edgar Wright seemed to want to turn away by interfering in the world of horror with Last Night in Soho.

Discovering the Briton in a new register was more than intriguing and it is clear that it is a small blessing. Last Night in Soho starts off like a fairy tale with this saving letter that will shake up the life of young Ellie and lead her through the streets of London. Corn very quickly, the fairy tale turns into disillusionment for Ellie when she understands that the British capital is hostile, sexist, false, oppressive and risky territory.

In a fairly quick (maybe even too much) and fairly nebulous way, Ellie’s character will then be transported to the 60s, her nostalgia for this period making her believe in a better world, the one she still has. conceived. And this is where Edgar Wright truly begins to impress. Its staging was so far clean, even if a little overdivided a few times (a discussion between girls), it becomes a virtuosity festival.

photo, Anya Taylor-JoyA crazy sequence among others

With a crazy mastery and a myriad of ingenious sequence shots, playing with mirrors, spaces, doors, shadows, looks (this dance with two, but three faces) … the Briton impresses at all times. Never has he been so skilled with a camera, and undoubtedly, everything is multiplied when it switches completely into the fantastic and finally the giallo.

Unsurprisingly, the tribute to the works of Dario argento (and others) is evident (the movie almost starts off as Suspiria somehow). THEThe play of colors introduced as soon as the apartment changes with the illuminated sign of a bar quickly gives the note of visual intention (the photo of Chung chung-hoon is a feast for the eyes), and the resulting reflection.

Because by plunging into a dream that will turn into a diabolical paranoid (even schizophrenic) nightmare over the sequences, Last Night in Soho offers a fascinating vision of idealized worlds / pasts and puts a punch in the face of the singers of “it was better before”. The co-writer of the film, Krysty Wilson-Cairns, had explained that the feature film spoke in fine of the exploitation of women in various interviews and this is indeed what makes the strength of the film.

photo, Anya Taylor-Joy, Matt SmithAn enchanted world whose darkness will reveal itself faster than expected

If he lovingly summons the aura of this period queen and multiplies the references to his cinema (from Repulsion of Roman Polanski To Invasion of the Living Dead of John gilling or Don’t look back of Nicolas roeg and Inferno de Argento, even if they are more recent), the feature film is presented as a modern version of these fantastic delusions. More feminist and particularly in tune with the times, the tribute to a whole section of cinema shows its true face.

So obviously there are flaws in this psychedelic adventure. Thus, the investigation that arises from Ellie’s temporal wanderings (Thomasin McKenzie decidedly a future grand) and her night out walks with Sandie (Anya Taylor-Joy capable of playing everything) turns out to be a little called at times. Worse, the plot is completely over-explained in the last third while the scenario could have played a more sensory card and avoid overly illustrative dialogues. Moreover, if the music is often great (not surprisingly with Wright), its overabundance sometimes spoils some effects.

photo, Thomasin McKenzieThomasin McKenzie impresses

However, that does not prevent you from getting your feet wet in front of this psychological thriller with a completely crazy climax, summoning simply terrifying images. Short, a sacred lyrical journey between dream and reality, past and present, which makes you want to see Edgar Wright pursue horrific experiments.

And when does it come out? From October 27 in French theaters, enough to make a ready-made program for Halloween.


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