Watched on Amazon Prime Video

The plot of "Saltburn" is set in the mid-noughties. But it could just as easily be set in the present day - or even more so in the sixties of the last century. The student atmosphere at the time-honored elite university of Oxford has a noble, dusty feel. It is therefore fitting that Barry Keoghan as Oliver Quick is somewhat reminiscent of Matt Damon's talented Mr. Ripley, whose novel was written by Patricia Highsmith in 1961. In this film, the protagonist shares with Ripley an admiration for his attractive friend that borders on obsession; an admiration that today would be described as "toxic".

Emerald Fennell may once again have been inspired by Britney Spears' song "Toxic", which dates from around the same time as this film is set - and which was a musical leitmotif in her last film "Promising Young Woman". Which at least draws a parallel between the two films. However, "Saltburn" lacks the emotional punch of its predecessor. While Carey Mulligan's character - who, incidentally, is back here in a strange little supporting role - was able to win over the audience right from the start, this film makes it harder for us to sympathize with the protagonist.

For a long time, it remains unclear whether this Oliver, who comments on the story as a first-person narrator, is a friendly underdog in search of affection or rather a psychopath who has taken up residence with the rich family. No other actor of his generation could portray such an ambivalent character better than Barry Keoghan. In his Oliver, you can recognize character elements of the disturbing teenager from "The Killing of A Sacred Deer" as well as those of the young outsider in "The Banshees of Inisherin".

The supporting characters don't exactly lend themselves to sympathy either. The tall Jacob Elordi seems a little pale as the real object of desire. Rosamund Pike and Richard E. Grant, on the other hand, embody their rich-people characters with a charming mixture of noblesse and decadence.

The highly aesthetic image compositions in 4:3 format are a perfect match. Cinematographer Linus Sandgren, who was also responsible for the visuals in the last Bond adventure "No Time To Die" and the works of Damien Chazelle, creates a beguilingly beautiful backdrop for this slightly unwieldy and inscrutable story; a story about social inequality, about friendships that lead to dependencies and about subtle intrigues. The film fluctuates between drama and thriller and remains difficult to categorize until the end - but this is precisely what makes it so appealing. Patricia Highsmith would have been proud of this Promising Young Man.