Saltburn gay szene
Spoilers!
Just to give this film its gay creds right off the bat, there's a scene in which Oliver Rapid (Barry Keoghan) espies Felix (Jacob Elordi), masturbating in the bath. When Felix leaves their common bathroom, Oliver, watching the rain (and other stuff) drain, bends down and drinks some of the spunk-enhanced bath water. It's a unique scene in a movie that could have been a contender -- but isn't quite.
Saltburnhas been called Brideshead Revisitedmeets The Talented Mr. Ripley, and that's accurate, up to a point. Working class scholarship trainee Oliver arrives at Oxford in and encounters aristocratic Felix. Very much the outsider, Oliver has no friends except for a quite mad maths genius, whose outburst in the dining hall at the start of the film lets us know that madness lies this way. After a number of encounters with Felix Catton, Oliver is invited to Saltburn, the Catton estate. We meet the eccentric inhabitants of Saltburn, beginning with Paul Rhys as Duncan the butler. Rhys, one of the amazing British acto
By Hannah Kremer, Staff Writer
Finally, a production about an unhinged bisexual eating the rich by taking one family member’s life at a time. Saltburn marked the first hour I sat in a theater, dazed and lost for words, 15 minutes after the motion picture ended. For several reasons, this film was one of my favorites of the year despite its morbid and, frankly, hypersexual themes.
There was something mesmerizing about Oliver, who was a freak by definition but still managed to make his way to the superior. Honestly, there wasn’t a better casting choice than Barry Keoghan for his role. Leave it to him, with all of his experience of playing weird characters, to improvise some of the movie’s most jaw-droppingly graphic scenes. The shock factor alone had me hooked. That is if we weren’t focusing on the rest of the cast. You are told about Jacob Elordi with an eyebrow piercing. You see images of what the traits looks like on TikTok, but nothing ever prepares you for seeing him on the massive screen. My. God. I get the infatuation with his character, Felix; I really do. Would it be to the point that I
The Bizarre Sex Scenes of Saltburn, Explained
Saltburn, a psychological thriller that falls somewhere between Brideshead Revisited and The Talented Mr. Ripley, is writer and director Emerald Fennell's highly-anticipated follow-up to the controversial revenge movie Promising Young Woman. Barry Keoghan stars as Oliver, a working class kid who gets into Oxford on a scholarship, but finds himself isolated from his wealthier, more privileged classmates—that is, until he meets the charismatic Felix Catton, played by Jacob Elordi.
The two juvenile men soon become cover friends, and Felix invites Oliver to come and stay with him at his family home, the vast and opulent state estate that gives the film its title. There, Oliver becomes entangled in the lives of Felix's mother Elspeth (Rosamund Pike), father James (Richard E. Grant), sister Venetia (Alison Oliver) and cousin Farleigh (Archie Madekwe).
As Oliver's infatuation with Felix and covetousness of the Cattons' decadent lives grow, his interactions with each of the family become increasingly charged, leading to some o
I'm so glad Saltburn wasn't my introduction to existence bisexual
Films and popular customs set norms that impact how people think about queer people, class and where we come from.
But can we really separate the art from the artist in an age where the vastly privileged create thevast majority of our cultural content?
When I first watched Saltburn, it made me uneasy - but it wasn’t immediately clear why. I would later realise how happy I was that it wasn’t my introduction to anything queer.
I quickly went to see what critics said about it, though.
It seems that director Emerald Fenell’s class background is significant in explaining the classist content of the film. At the begin of the film, I was excited to observe a character I could relate to in Oliver - but his personal story turned out to all be a stretch. The Polyester podcast noticed this too, saying that as the film progressed it left the terrible aftertaste of witnessing a narrative that was “punching down”.
This film seemed to be an exercise in upper-class vanity, portraying a fantasy of the proles c