The Dionysian Possession of Saltburns Grave Scene
By Jude Michalik
Emerald Fennell's bold sophomore feature Saltburn, released amidst the grey ruffles of late November weather, invited us all to sit by the simmering hot pot of opinions, often heated enough to mirror the haunting long-gone-summer atmosphere of the film. Ardently adore it or utterly despise it, this (not so) little venture is a visually stunning endeavour, turning our heads yet again towards Linus Sandgren, the cinematographer responsible for the visuals of films such as La La Land and Babylon. Echoing Caravaggio’s masterful use of bold lighting and vivid colours, Saltburn unashamedly strips naked in front of our eyes in a Call Me by Your Name-esque fashion that brings to light what we pursue behind closed doors.
Saltburn’s so-called “grave scene” occupies a well-deserved place among the film’s most discussed moments, being a well-crafted, key part of the visual story that unravels throughout the film. Much more than simply a perverse transgression, the gripping image of Oliver (Barry Keoghan) in tear-filled spasms of male possession sees the film revert to myth and carnal ways of expression. It’s one of the movie’s most subtle ploys to defy our expectations.
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