Date Showing Showing On 20, 22, 23 May
Time Showing Monday 6pm, Wednesday 4pm and Thursday 6pm


MA15+ 2hrs 11mins
drama | 2023, USA, UK | English

Struggling to find his place at Oxford University, student Oliver Quick finds himself drawn into the world of the charming and aristocratic Felix Catton, who invites him to Saltburn, his eccentric family's sprawling estate, for a summer never to be forgotten.


Strong themes, suicide references, coarse language and nudity

Emerald Fennell
Original Review
Chris Barsanti, Eyes Wide Open
Extracted By
Mark Horner
Barry Keoghan, Jacob Elordi, Rosamund Pike, Richard E Grant, Archie Madekwe

Watch The Trailer

Saltburn | Official Trailer

Storyline (warning: spoilers)

Emerald Fennell’s Saltburn did something nearly every other 2023 movie could not: Start an argument. Released into award season as a tawdry kind of counterprogramming against more serious fare, the movie provided a big bad jolt of decadent fun at a time when such things are hard to come by. Oxford scholarship student Oliver (Barry Keoghan), earnest and doe-eyed but also a bit of a drip, insinuates himself into a circle of glamorous and staggeringly wealthy students at least in part to stay closer to Felix, an upper-class heartthrob who has caught his eye (Jacob Elordi). Once ensconced on Felix’s family estate of Saltburn, Oliver moves past romantic obsession to something more primal.
Because of this, people got excited. They thrilled to the luscious and vaguely rotted environment, not to mention the music, strobing cinematography, faded aristocrats whistling past their graves, the gritty eroticism brought by Keoghan and Elordi, and a dash of necrophilia; it’s the kind of movie meant to launch a hundred Cinema Studies essays about “the gaze.” The movie’s boosters did not care too much or at all about how tightly the plot threads were knitted up in the all-too-much-of-that conclusion. They got on board and enjoyed the ride.
Because of that, others were irritated. Saltburn was accused of being less than the sum of its parts. It was fileted for being too derivative, too explanatory in a Bond villain way, too ambiguous about where its protagonist was on the sexuality spectrum, and refusing to deliver moral clarity about who the goodies and baddies were. But while Fennell’s satire of the toffs is constant and cutting, she never loses sight of their humanity.
Saying too much more would give away the twists and turns. Saltburn’s critics are not wrong when they cut it up for being both nonsensical and just too damn much at the end. Saltburn is a great time produced by a great director without being a great movie. And that is perfectly okay.

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