Last Night in Soho
Plot
In the psychological horror film, Last Night in Soho, directed by Edgar Wright, we meet Eloise "Elo" Sirkin, a timid and shy teenager from North London. Elo's life with her mother, Eleanora, is quiet and mundane, marked by grief over the abuse her mother suffered at the hands of Elo's father. The mother-daughter bond is fragile, and Elo struggles with feelings of low self-esteem and loneliness. Amidst this bleak backdrop, Elo discovers her passion for fashion design under the guidance of her friend's mother, Margi. Her skills earn her a spot at a prestigious fashion school in Scotland, but Elo's plans are put on hold when an accident involving a derelict car leaves her heartbroken, and her life in shambles. As Elo's emotional pain intensifies, she starts developing strange visions of her idol, Sandie, a charismatic and talented singer in 1960s London. In her fantasies, Elo becomes one with Sandie, donning her iconic outfit and escaping the bleakness of her present life. The visions begin to blur reality and fantasy, and Elo starts becoming obsessed with her alter ego. She starts experiencing the ultimate freedom she's always dreamed of in the alternate reality as Sandie, working as a coat presser and club kid, taking stage names and roles to rise through the ranks of London's vibrant music scene. Elo's surreal experiences become more vivid and convincing. She can move through time, immersing herself in the beautiful world of the 1960s. Her creativity as a fashion designer flourishes, influenced by the likes of Mary Quant and André Courrèges. The free-spirited Sandie, a style icon and 60s London scene-stealer, embodies the pinnacle of aspirational elegance. Elo becomes captivated by a mythical world of abundance, artistry, and inclusivity, which Sandie represents. Her enchanting persona takes on a life of its own, blurring reality and fantasy lines. However, things begin to darken rapidly as Elo's visions of the 1960s weave in a darker narrative. Her fantasies of Sandie spiral out of control after becoming increasingly entwined with the brutal murder of one of Sandie's acquaintances. This murder creates devastating consequences for Sandie, culminating in an eruption of societal oppression. This throws a wrench in the supposed 'perfect' experience that always envisioned for herself. Yet, despite growing chaos and dark unfolding events in her fantasy realm, her affection and adoration for Sandie continues to soar. Throughout the unfolding of 'Last Night in Soho', Edgar Wright deftly combines the dreamlike quality of Elo's visions with flashes of acute realisem. Through pointed subtleties and attention to detail, Wright brings forward hidden histories and societal themes buried within the evolving narrative. As Eli's two worlds collide in unforeseen, graphic, and violent clashes between fantasies and reality, Sandie becomes increasingly trapped in her 'current' dark life and for an agonizing time she desperately realizes her harsh new troubles, lost forever trapped thus. The thrilling sequence presents the dark truth behind Sandie's London. The shadows beneath her euphoric performances threaten her every waking moment. Elo realizes with a newfound understanding the hollowness behind an excessively appealing facade. She must untangle the gruesome, turbulent reality from her skewed visions. She comes face-to-face with what she had unknowingly willed to see.
Reviews
Lucas
The mirror/possession sequences are absolutely stunning! Amidst the expressionistic neon and shadows, the "ghosts" of history, bearing the blood and tears of women, gradually consume the protagonist. Her awakening is presented in a state of frenzy, which ironically reflects the current social reality. "Being a man" becomes a kind of original sin. It's radically presented, but we need exactly this kind of revolution: to slash the throat of patriarchy, drink its blood, and then never grant its soul passage.
Alexander
Seeing our university's logo plastered on the screen, along with blatant product placements (like the Shin brand and student ID lanyards), was genuinely embarrassing. And it's the London College of Fashion, not Central Saint Martins. The story is painfully straightforward, seemingly afraid the audience might not grasp it: the artist's dream, the male gaze, industry power dynamics... all presented in a clichéd manner. The climax's muddled and chaotic handling is the most disappointing aspect. The audience awkwardly attempts to connect with character arcs but is left sorely unfulfilled. I don't understand the purpose of the female lead's romantic subplot. The final fashion show's creations are quite perfunctory. Such a waste of the meticulous... (details that were seemingly well-done but ultimately squandered).
Harmony
So I thought it was a horror film and took my kinda awkward date to see it... Turns out it was a huge male-bashing/misandrist fest... We were pretty much silent on the way home after the movie... Excellent... (in a horribly awkward way).
Gael
How a bad ending can ruin a good movie. The film explores the theme of sexual exploitation, vividly portraying psychological horror from a female perspective. It creates a suspenseful atmosphere, blurring the line between reality and illusion, through numerous mirror shots, seamless transitions and psychedelic sequences. Additionally, outstanding costume design, makeup, and music – especially Anya Taylor-Joy's breathtaking rendition of "Downtown" – are all strengths of the movie.可惜, all the groundwork laid for character motivations and plot development seems meaningless in the end. After the plot twist, the screenwriters seemed to get lost in figuring out who exactly the villain was, opting instead to have Sandie and the ghosts act erratically, leaving viewers with a bewilderingly unsatisfying happy ending..
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