Edgar Wright is undoubtedly one of the most important filmmakers in the world right now, but his latest film has attracted mixed reviews, with some claiming that is one of Wright’s finest yet while others insist that it is a misfire. Titled Last Night in Soho, Wright’s new production is a psychological horror film that follows the bizarre life of an aspiring fashion designer who suddenly finds herself in the body of her idol (Anya Taylor-Joy) back in the 1960s. Forewarning, there are spoilers ahead.
Throughout the release campaign, Wright maintained that Last Night in Soho is tied to the greater questions about the future of cinema. According to Wright, the experience of watching films in theatres will never die even though the increasing majority of people have switched to streaming platforms in order to watch content from the comfort of their homes.
“There is an element where I feel like there’s too much doomsaying on the internet,” the director commented. “I always feel like a lot of people who are saying ‘the death of cinema’ have vested interests in the streamers and stuff… On a spiritual level, I always want to have the opportunity to watch something in the cinema. It’s important to me that if you want to go and see Last Night in Soho in a cinema, you can go see it in a cinema.”
One of the major elements of Last Night in Soho that critics and audiences criticised is the plot twist which the film’s co-writer Krysty Wilson-Cairns calls an act of “female empowerment.” At the end, the audience discovers that the icon of the ’60s who was murdered by her pimp is actually alive and had killed all her oppressors instead.
“That original twist was always there, and that was, for me, the key idea to the female empowerment,” Wilson-Cairns said in an interview with IndieWire. “I had never seen a villain like that before. I’d never seen a villain where I don’t agree with what she does, but I empathise with what she does. That was such a crucial element that hooked me in. I think without that twist, I might not have been as interested in the film.”
“There’s some red flags there!” she added. “But it’s subtle enough, and you’re swept up enough in this idea of, ‘Wow, this is a dream.’ And then we completely and utterly turn that on their head, and we’re like, ‘Oh, you thought this was going to be a lovely trip down Memory Lane? Surprise. It’s not.’ And then it only gets much darker from there.”
Check out the trailer for Edgar Wright’s new film Last Night in Soho below.