Four Reasons Why ‘Saltburn’ Deserved Oscar Nominations and the One Reason It Was Snubbed

4/14/2024

Written by Juanita ‘Obi-Juan’ Bonner

Barry Koeghan as Oliver in ‘Saltburn’. (Photo Courtesy of MGM and Amazon Studios.)

During awards season, every artisan in the industry has their eyes on the grand prize. A nod, and hopeful win, from the Academy of Motion Picture Arts and Sciences – better known as the Oscars – is a dream come true for most. So much so, that virtually everyone worth their salt (*WINK*) seeks to be recognized by the Academy, many saying it’s an honor just to be nominated. Though we all know they secretly wish to win above all else. *DUH!!*

Made up of everyone from directors and actors to executive producers and other industry giants, each category is voted upon by their respective members. That’s to say, directors vote for directors and so on, while a ranked choice voting system is used to decide Best Picture. Unfortunately, the Academy is fickle when it comes to paying attention to films that deviate too far from the norm. Saltburn (Warner Bros. Pictures; 2023) is no exception by far, but I believe the shock value turned folks away causing them to overlook the true beauty and intricacies this film has to offer. So now that the 2024 awards season has ended, I’d like to take a deeper look at this masterclass in filmmaking and discuss why…why was Saltburn snubbed at the Oscars?? Especially when Emerald Fennell (Writer/Director) won the 2021 award for Best Picture and Best Original Screenplay for her first feature-length outing for Promising Young Woman (Focus Features/Universal Pictures; 2020). *BAD ASS* I mean… she clearly has the chops… right?

Before we begin, it’s apt to point out that this year’s Oscar season was quite stacked. So much so that predictions aside from Oppenheimer (Universal Pictures; 2023) were a little all over the place. Excellent films like American Fiction (Amazon MGM Studios; 2023), Killers of the Flower Moon (Paramount Pictures/Apple Studios; 2023), Poor Things (Starlight Pictures; 2023), Barbie (Warner Bros. Pictures; 2023) and more took second stage to Oppenheimer, and for good reason. However, I would be remiss if I didn’t point out that with all its popularity, I really wish some light could’ve been shed on the aftermath of the Trinity Test and how it changed, and continues to change lives, in such a negative way in New Mexico. Ah… but I digress!! For anyone interested, check out First We Bombed New Mexico (Lois Lipman) right here. Now… let’s move on!

Per the norm, several films were nominated in multiple categories. Thus, many have stated that the competition was just too stiff to include Saltburn. Thus, I argue that’s exactly why it should’ve been considered. Because it belonged there!! So… let’s take a look at four categories for thought – Original Screenplay, Cinematography, Direction and Acting.

Original Screenplay
(Emerald Fennell)

Rosamund Pike as Elspeth in ‘Saltburn’. (Photo Courtesy of MGM and Amazon Studios.)

Beginning with a visual of the bathtub scene (*STILL NOT OVER IT!!*) and the words: “I wasn’t in love with him,” Fennell poured over the Saltburn screenplay in secret for five years only sharing the final product when she felt it was ready. Her vision is insanely depraved and deliciously evil in multiple ways. Using a goth approach and heavy symbolism rooted in everything from Shakespeare to horror, Fennell explained to Entertainment Weekly that she likes to play with genres and specifically wanted to visit that: “Bottomless pit of want, and jealously, and need, and voyeurism” that we all have but don’t want to acknowledge. And boy does she deliver. *KAPOW* For some clarity on this vision, an excellent video breakdown, including all the scrumptious symbolism, can be found on ScreenCrush. And here are two videos from MsMojo titled: Top 10 things You Missed in Saltburn and Top 10 Behind the Scenes Facts about Saltburn. All of which add some extra contextual elements to the overall feel of the film. Thanks to both channels for such fun and detailed work! *HELLS YEAH!*

But hasn’t all this obsession business been done before?? Well… yes and… no!!

For example, often compared to The Talented Mr. Ripley (Paramount Pictures; 1999), Saltburn doesn’t just show us fixation. It slaps us with our own desires in waves and levels wrapped inside unimaginable deviancy. It’s so much deeper than Mr. Ripley or films like it that it’s hard to know where to begin. Sure, the premise – poor kid idolizes rich kid – is the same. But quite honestly, that’s where the similarities end as Mr. Ripley is fairly one dimensional with regards to infatuation. Saltburn, on the other hand, looks at various aspects from almost every character and lays bare their own insecurities and fetishes. *RAISED EYEBROW!*

The film follows the lead, but also gives a window into everyone involved in a way that I’ve never really seen before. To add to this, Mr. Ripley culminates in some suspenseful action whereas Saltburn remains slow and cunning throughout. Even the buildup to the climax in the maze floats in like a bubble in the air on a hot summer day. Ever so lightly until it pops!! Plus, every uncomfortable scene plays with heavy menacing music, but a light, albeit often disturbing visual texture. Mixing horror and desire that delivers like a dance rather than any hyped up action sequence is no easy feat. It’s both familiar and completely new which is seriously intriguing in a very twisted way… LOL!!

Finally, Fennell goes out of her way to set the stage that is Saltburn. Including locations (University and the sprawling manor), specific period details for the early 2000’s, like eyebrow piercings, certain clothes, Live Strong bracelets (*YIKES… LOL!!*), and her traditional overall gothic feel. Not to mention, my personal favorite noted in her interview with Far Out. An homage to The Shining (Warner Bros; 1980) with the: “use of mazes and sweeping camera work that pulls you from room to room with a notably dizzying effect.” It’s literally mesmerizing! *OBSESSED!!* Which leads us to the additional fine touches that can only be accomplished with excellent camera work.

Cinematography
(Linus Sandgren)

Barry Koeghan as Oliver in ‘Saltburn’. (Photo Courtesy of MGM and Amazon Studios.)

Following Emerald’s vision. Not only are multiple expansive scenes in the film utterly beautiful. There are very specific angles giving rise to a voyeuristic perception. Much of it is taken from Oliver’s (Barry Keoghan) perspective as we watch him watch others. It’s secretive and seductive. Plus, though extremely subtle, yet subversive throughout, the shots themselves – 4x3 in nature - are hypnotic. This aspect ratio adds a level of distortion whilst also bringing the film itself alive… as if from the shadows. Long distances, extended hallways, high ceilings and more all reveal tiny details of an illustrious, but fake exterior coupled with a well lived in, almost musty and overly lavish daft interior. This type of camera work emphasizes the characters while allowing the stage to linger about making the viewer want to peek into a bedroom, closet, or even just around the corner. All of which adds to the morbid feel of never really being alone. A chilling concept on its own!! *HECK YEAH IT IS!*

Never letting the onlooker feel entrance you fully. Complete immersion is impossible, as the viewer is purposely made to feel uncomfortable multiple times across the film. This begins ever so slightly at University and slowly ramps up. Making you the observer feels positively horrific at times. *YEP!* Still, scenes like the Midsummer Night’s themed party appear magical even with its underlying dark tones and sadistic themes. The manor itself is massive and provides the perfect backdrop for the story to unfold. However, nooks and crannies in the mansion are nothing compared to those within the characters and the cinematography blends them beautifully. Topped off with excellent lighting effects and a haunting score, the entire film is visually stunning throughout!! But telling the tale has to come with supervision and Emerald Fennell has that in spades!!

Direction
(Emerald Fennell)

Barry Koeghan as Oliver in ‘Saltburn’. (Photo Courtesy of MGM and Amazon Studios.)

Bringing together a vision wholly your own is a tough feat, but Fennell smashes through the task like a runner crossing a finish line made of cray paper. Uncompromising and pushing the fascination envelope at every turn, Fennell guided the cast to freedom of expression by encouraging them to grasp the space between. The sinister areas of our hearts and minds that as lay people, we often look away from. This is what she wants us to see!! Further, Fennell stated to IndieWire that: “It’s also about who’s watching, who’s being watched, when does that gaze slightly shift. It’s just an endless, thrilling, detailed conversation.” I find this captivating on many levels. Specifically because whether we want to admit it or not, we all watch to a certain extent. *INTERESTING!!*

Adding to the sheer scope of obsession, Fennell wants the audience to squirm. In her interview with Time, when asked if in her mind, are lust and revulsion tied together? Fennell references the film Romance (Rézo Films; 1999) and says: “that sexual tension isn’t between two people, it’s between desire and revulsion.” *WOW* She goes on to say that Saltburn is: “about our relationship with the things we want and how sadomasochistic that can be.” All of which would inform how she would explain her endgame to the cast and crew. Said crew dived right in.

Acting
(Full Cast)

Still from ‘Saltburn’ Courtesy of Chiabella James/MGM and Amazon Studios.

Similar to the film itself but reversing the voyeur take, I’d like to begin with the supporting characters and work my way in. The strange family dynamic is perfection as the viewer is shown what beauty behind the closed doors of the nauseatingly rich looks like. Oddly enough, we hate them and want to hang with them at the same time. Aside from costumes – another potential Oscar snub (*YEP!!*) – the acting in Saltburn is nothing short of perfection. Watching Carey Mulligan take on the role of Poor Dear Pamela (seriously, that’s how she’s credited… LOL!!) is exactly what helps make this picture a dark comedy. She reeks of desperation though barely says a thing. When she does speak, it’s beyond telling but subtle enough to be missed by the casual viewer. Both funny and tragic, Pamela is an unfortunate plaything for the Catton family. None more than the matriarch, Elspeth Catton, portrayed expertly by Rosamund Pike. Fully immersing herself in the role, Pike told Today: “I kind of fell deeply into character,” as she actually lived at the manor and embraced every loathsome inch of a socialite who married way up! Extravagant and petty, the love/hate for this self-described boho sheik character is oddly satisfying and really a tale unto itself… no? Her husband on the other hand carries more of an eccentric billionaire vibe that’s equally fun to watch. Played by the immensely talented Richad E. Grant, Sir James Catton by far lives nowhere near the real world and cares nothing for the intricacies of the average human experience. He continually seems checked out and self-serving, yet Grant does such a good job that the viewer finds themselves feeling a bit sorry for his naiveite having fallen victim to the charms of Elspeth and lavish high society. Never mind he comes from old money and appears dumb as rocks… LOL!! He’s an absolute joy to watch save for his utter ignorance when it comes to his own children. Particularly his daughter Venetia Catton (Alison Oliver). Desperate for attention, Venetia plays the quintessential poor little rich girl with a melancholy air of trauma that’s hard to turn from. Particularly as her mother belittles her throughout. I mean… PUDDING FINGERS… really!?! Noted as her theatrical debut, Alison is positively excellent in the role. *BRAVO!!* And finally… rounding out the phenomenal supporting cast is the Catton family’s adopted token charity case Farleigh Start (Archie Madekwe). Who, for my money, stole the supporting show and above all the rest deserved some serious recognition. Playing both ruthless and vulnerable, Madekwe is brilliant!! Especially when viewing his dynamic with Oliver. He’s jealous and spiteful and along with all of the supporting cast, makes a devilishly scrumptious snack surrounding the main course – our two delicious leads – Ollie and Felix.

Oliver Quick (Barry Keoghan) and Felix Catton (Jacob Elordi) – have unbelievable chemistry and both equally share the screen when present. Constantly watching Oliver watch Felix is sexy and creepy in all the right ways. Felix comes off as genuinely kind hearted with good intentions, but ultimately reveals a seedier self-serving side to his charity and above all, his ego wins every time. Nonetheless, he’s so damn handsome, charismatic and alluring, the viewer cannot help but love him anyway. I mean… candles from all over were created in Elordi’s honor… LOL!! As for Oliver… I scarcely know where to start. Barry’s improv of the character alone (*HELLO GRAVEYARD SCENE*), is spectacular. But it’s so much more than that. How he carries himself. How he changes from a sympathetic mess or childlike demeanor to a calculating manipulator. I mean… in short, Keoghan is simply intoxicating to watch. From start to finish, he grabs this character and turns him inside out before our very eyes. We love him. We empathize with him. We want him and want to be him. It’s absolutely nuts that we might cheer for someone so vile. Yet, we have no idea how bad it is until it’s too late. We’re so focused on how messed up everyone else is that Ollie slips right past us for a time. It speaks volumes to just how utterly shitty AND captivating the other characters are… LOL!! By the end… I didn’t know whether to love or hate Ollie. I finally decided to stop trying to figure it out and just understand that I’m supposed to do both… LOL!! Accepting that Fennell did her due diligence when choosing Keoghan is something one should settle on from the get! If anything, Keoghan deserved Best Male Actor in a Leading Role, hands down!! *SIGH!*

The Reason(s) It Wasn’t Nominated

Still from ‘Saltburn’ Courtesy of MGM and Amazon Studios.

Saltburn not only met all of the categories discussed above. It exceeded them in multiple ways. With 100 nominations and 13 wins from various projects, including the British Academy of Film and Television Arts (BAFTA), Critics Choice Awards (CCA), Golden Globes, People’s Choice Awards and many, many more, it’s clear the film itself struck a chord within the awards community. Not to mention, rarely, if ever, do big movies make the BAFTAs, CCA and the Globes and not get a single nomination by the Academy of Motion Picture Arts and Sciences. Still, here we are!! Completely snubbed from the Oscars. Why, you ask… ?? Well, it’s my personal opinion that the Academy truly didn’t know what to do with a film that unapologetically explores the wickedness of obsession with a muddy AND provocative eye. Yep… I said it!! The movie is too dirty for the Oscars. Strange since there is almost no nudity or even full on sex scenes. I mean… films like Poor Things which arguably exploited Emma Stone’s child-like character for the sake of a metaphor on breaking free from societal constraints (*Seriously??*), had graphic sex scenes and blatant misogyny throughout. Still, it became an Oscar darling even pushing Killers of the Flower Moon’s Lily Gladstone away for Best Actress in a Leading Role. Yeah, I was surprised too.

Of course, a polarized audience certainly didn’t help matters. Saltburn rarely has a middle ground with viewers. You either love it or hate it. So much so, that I firmly believe that hating this film aligns with a xenophobic culture that Fennell beautifully exploits. Those who can’t make sense of it are repelled by the dingy themes of passion and desire. They want to immediately place it in a box. Either falsely comparing it to other films, giving it labels it doesn’t deserve, or simply dismissing it altogether. It’s gross and uncomfortable on purpose and the obsession in this film is disgustingly sexy. A term I’m sure Fennell would love and probably has even said herself in one form or another. To listen to her discuss the murky corners of Saltburn is fascinating and in a way, should really be offered as a compliment to the film itself. Unfortunately, Oscar voters likely aren’t scouring the internet (or the bathtub… LOL!!) for interviews to make up their mind. Same goes for critics. Especially those who say that Fennell’s vision is unclear or that her “Eat the Rich” message misses the mark. What they all fail to realize is the new and quite frankly rough avenues this film explores. Or that Fennell’s vision, with its classism backdrop is really focusing on calamitous desire, regardless of wealth. Hell, in my opinion, she’s not trying to Eat the Rich…at all!! It’s simply as I already stated…a backdrop. Besides, it's much easier to drape the scenery in riches when sliding into depravity. It’s captivating on its own and allows us to let our guard down only to be gobsmacked with the reality laid bare. For critics and viewers alike, to acknowledge this would shed light on the pitch black corners of our mind that none of us want to admit is there. And for that, I suspect Saltburn’s cult following coupled with deep analysis’ will continue to grow. All the while, remaining equally as polarizing to fresh eyes. Which, for me, tells me a lot more about the watcher than you think… *RAISED EYEBROW*

Below are a few video interviews with Emerald Fennell. All well worth the watch if your infatuation runs as deep as mine.

1.Letterboxd: Emerald Fennell Reads Your Saltburn Reviews
2.Vanity Fair: ‘Saltburn’ Director Emerald Fennell Breaks Down the Arrival Scene
3.Esquire UK: Emerald Fennell Breaks Down ‘Saltburn’ and Defends Jacob Elordi’s Eyebrow Piercing
4.Reign With Josh Smith: Emerald Fennell Interview on Saltburn’s most controversial scenes with Barry Keoghan and Jacob Elordi
5.Grazia UK: Emerald Fennell on ‘Saltburn’ Final Dance Sequence and Easter Eggs

Until next time.

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