Horror wrapper about exploitation of women in Last Night in Soho movie

Horror wrapper about exploitation of women in Last Night in Soho movie

ELOUISE (Thomasin McKenzie) is a gen z trapped in all of 60s pop culture, from fashion to music. The boy from a village in England once moved to London to study fashion. Culture shock and reality, immediate ambush.

This is a fragment from Edgar Wright’s latest film, Last Night in Soho. From the first act, this film shows an infatuation with 60s pop culture. But not only in praise of 60s culture, Wright also shows social depravity through this psychological horror genre film.

Passionate about fashion design, Elouise, whose mother died at the age of seven, left for London to pursue her dream in this field. An ideal that is also the dream of her grandmother and her late mother.

Just hours after arriving in London, Eloise or colloquially known as Ellie had a series of unpleasant experiences, including sexist comments from the taxi driver and the mistreatment of her roommates. He also chooses to move to a former guesthouse owned by Ms Collins (Diana Rigg).

Not only drawn to the old-fashioned style of the rooms at the old guesthouse, Ellie also experiences strange fantasies, such as dreaming that she visited a 60s nightclub and met the figure of Sandie (Anya Taylor-Joy ). At first, Ellie loved fantasies, “even cheating” her fashion design mission with the dress Sandie wore that she had seen in a dream.

Until one day Ellie discovers the grim reality of Sandie, which is exploited by her manager, Jack (Matt Smith). Since then, Ellie has become more and more sensitive to the fantasies that appear in her dreams that rise to the surface of her reality.

Toxic industry
Last Night in Soho is an Edgar Wright film that first featured a woman as the lead actor. Co-written with Krysty Wilson-Cairns (1917), this film contains layers on how women are portrayed in a toxic industrial vortex.

Wright not only gave the frame of the 60s as a clangenan, but also how the industry at that time was very hostile to women. Sandie is turned into a “commodity” by Jack under the lights of the entertainment industry. Wright also pointed out the condition of Sandie who was the victim of mash.

On the flip side, Ellie, whose mother had a history of mental illness and suicide, was also in the spotlight. In acting terms, McKenzie’s Depth shows the figure of a young villager depressed by city life and the terrors of the past enough to cause audiences to drift into the horrors of his dream fantasy.

Diana Rigg’s playing in the closing film of her career is also good. Rigg does a pretty good job of showing a boarding house housewife experiencing a polarization of character.

As a director, Wright is pretty good at concocting Last Night in Soho with humor and a neat and elegant production system. The zombie packaging of Shaun of The Dead (2004) which puts demons among the colors of the film is also enough to give a dimension of horror. Likewise, blood splashes at the end.

However, these scenes look like a simple horror “decoration” that obscures the main issue of the film. This film’s dig into the correlation of Sandie and Ellie’s question, is still only a surface.

The twist Wright put behind doesn’t come as a surprise either. Overall, the film, which premieres in Indonesia from November 3, is a fairly entertaining horror flick, but has yet to solidly present the issue of exploitation of women in the industry. entertainment. (M-1)


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