Anya Taylor-Joy travels back in time in thriller 'Last Night in Soho' | Inquirer Entertainment
Close  

Anya Taylor-Joy travels back in time in thriller ‘Last Night in Soho’

/ 12:50 PM September 05, 2021
78th Venice Film Festival

The 78th Venice Film Festival. Photo call for “Last Night In Soho” out of competition, Venice, Italy, Sept. 4, 2021. Actor Anya Taylor-Joy poses. Image: Reuters/Yara Nardi

VENICE — British filmmaker Edgar Wright said he drew inspiration from the likes of Alfred Hitchcock and Italian horror director Dario Argento to depict the dark side of London in his psychological thriller “Last Night in Soho.”

The film, premiering out of competition at the Venice Film Festival on Saturday, follows Eloise (Thomasin McKenzie), a student enamored with the 1960s who heads to London from the countryside intent on becoming a fashion designer.

ADVERTISEMENT

But her dream fast turns into a neon-drenched nightmare as she finds herself transported back to the decade and inhabiting the life of Sandie, an aspiring singer played by “The Queen’s Gambit” star Anya Taylor-Joy.

Wright, who started working on the idea more than a decade ago, called the film a “dark valentine to Soho,” the central London area where most of the action takes place.

FEATURED STORIES

While he asked audiences in Venice not to reveal too much about the plot ahead of the film’s release late next month, he told reporters his movie sought to show it is “dangerous to romanticize the past”.

“I love London, but there’s a lot to fear about it as well, so you have a conflicted relationship with the city … (Bad) things that are happening now were happening then,” Wright said.

The film nonetheless pays tribute to the style, fashion and music of the Swinging Sixties, with “An Education” costume designer Odile Dicks-Mireaux helping recreate the atmosphere.

Alongside Wright’s favorites from the period, the soundtrack includes a new take on Petula Clark’s “Downtown,” sung by Taylor-Joy in an audition scene.

The film also features an elaborate choreography of dream-like mirror work between the two main characters, deliberately making it hard for viewers to tell reality from hallucination.

“Having something that requires such synchronicity between not just the two of us but the camera as well, we really had to be focused on the other individual,” Taylor-Joy said.

She said that most of the mirror scenes were captured live on set as opposed to having visual effects reproduced in post-production. JB

ADVERTISEMENT

RELATED STORIES:

‘The Queen’s Gambit’ breaks streaming record for limited series

‘The Queen’s Gambit’ getting turned into stage musical

The hottest entertainment news straight to your inbox

By providing an email address. I agree to the Terms of Use and acknowledge that I have read the Privacy Policy.
Read Next
Don't miss out on the latest news and information.

Subscribe to INQUIRER PLUS to get access to The Philippine Daily Inquirer & other 70+ titles, share up to 5 gadgets, listen to the news, download as early as 4am & share articles on social media. Call 896 6000.

TAGS: 1960s, Alfred Hitchcock, Anya Taylor-Joy, thrillers, Venice Film Festival
For feedback, complaints, or inquiries, contact us.

Subscribe to our entertainment news

By providing an email address. I agree to the Terms of Use and
acknowledge that I have read the Privacy Policy.



© Copyright 1997-2022 INQUIRER.net | All Rights Reserved

We use cookies to ensure you get the best experience on our website. By continuing, you are agreeing to our use of cookies. To find out more, please click this link.