Although Edgar Wright has been working in the industry for many years, it is clear that the director seeks quality and not quantity. His peculiar sense of humor and his association with Simon Pegg served to deliver to the public the Cornetto trilogy, made up of The Despair of the Dead – 92%, Hot Fuzz: Super Cops – 91% and A Night At The End Of The World – 89%, who marked him as a great comedy visionary, a status he reaffirmed with Scott Pilgrim vs. The Ex Of The Girl Of Your Dreams – 82%, a film that was not so appreciated at the time but is now considered cult. The creator’s style didn’t prepare us for Last Night in Soho – 80%, a psychological horror project that promises to revolutionize the genre.
Keep reading: Last Night in Soho: Anya Taylor-Joy Says It’s A Well-Directed Acid Trip
With Baby – The Crime Apprentice – 93%, Wright showed that he could go beyond comedy and turn around a popular genre like action. In fact, the film starring Ansel Elgort and Lily James was a script that the director worked on from his youth, but took time to refine and finance. Now with Last Night in Soho, Wright promises something similar and the first trailer seems to confirm his new achievement. The film starring Anya Taylor-Joy and Thomasin McKenzie was one of the most anticipated releases of last year, but the pandemic delayed its arrival, which should take place in October this year.
We know that the film is psychological horror and the protagonist has defined it as an acid trip, so the clearest references seem to be titles such as Repulsion – 100% and The Neon Demon – 57%. Despite the expectations and the trailer, there is still much that we do not know about this story that also seems to have David Lynch touches. Now screenwriter Krysty Wilson-Cairns, best known for working on the Penny Dreadful series – 78% and to write 1917 – 98% gives us more information on what they both wanted to achieve with this new and original project.
During an interview for Empire, the screenwriter revealed that the film is basically about the exploitation of women, but it is not limited to that:
AND [trata sobre] the exploitation of any marginalized group, actually. I don’t think people talk about it enough. I don’t think we see it on screen enough, and I don’t think we fully understand the implications of that. And I think we need to talk about it in fiction because it’s how people begin to grasp things that are not directly connected to them. So, it couldn’t not be an issue, because we’re talking about the 60’s, and it was very common.
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Of course, this idea involved writing female characters quite different from what is normally seen, and the task was not easy because they should not be presented in a forced way:
You never go and say, “We want to write great female roles to pass the Bechdel test.” To tell this story, it was important to have two strong female characters. It was more important to tell the story correctly and develop interesting characters than to write women just for doing it. I wouldn’t have gotten involved in that. But I admire Wright for saying, “You know what, I’ll take this risk.”
The writer also comments that Last Night in Soho it talks about the dangers of romanticizing the past and getting what you want. In this way, Edgar Wright he embarks for the first time on a story starring women, since he usually has men as the central axis of his projects.
Horror films have always served to speak, criticize and debate social issues that are disguised as monsters or terrifying metaphors to provoke a response from the public. That is precisely why it is not uncommon for terror to resort to female figures from the beginning of its history to tell its plots. Women have gone from having no voice to acquiring social power, and many titles show them from all these perspectives ranging from damsel in distress to primary aggressor. Hopefully, Last Night in Soho will join other titles that have given us interesting protagonists, such as Midsommar: Terror Doesn’t Wait for the Night – 98%, Brand New Cherry Flavor – 85% or The Invisible Man – 90%.
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Last Night in Soho: screenwriter says it will be about the exploitation of women