Carey Mulligan With Promising Young Woman finally being released in the UK this week — and less than two weeks before the Oscars, where the film received five nominations — everyone is talking about writer-director Emerald Fennell. To celebrate the arrival of one of the most daring films of the year, read Empire's interview with Fennell, conducted just days before the film's world premiere at the Sundance Film Festival — talking about female villains, nice guys, and her fascination with frightening women. You might know her name from her show-running the second season of Killing Eve. You might know her face from her playing Camilla Shand in the third and fourth season of The Crown. You might know her voice from her YA novel, Shiverton Hall. For the multi-hyphenate, multi-threat Fennell has made a film that is nothing like you expect, strident in its originality and, frankly, completely bonkers for a first piece of work. We really want to know what she was thinking.
Carry A young woman, seemingly very drunk, is taken home by a adolescent man purporting to protect her as of other, more predatory men. Back by his place he is immediately altogether over her, even as she is unable to provide consent or back herself. In some ways the film is like when the lights appear on at the end of the night in a club and can you repeat that? once felt seductive is in an instant revealed to be seedy. Can you repeat that? are we doing? The movie is already building steady awards season drive and has become one of the leading conversation pieces of the flavour. Full disclosure: This writer is a member.
After that she does a convincing job. She is unsteady on her feet, her eyes unfocused, her speech slurred. It usually isn't long before an according to the grapevine kind man approaches and offers en route for help her get home. Except they don't take her home. More a lot than not, they find an absolve to take her back to their place instead, in the hope she's so drunk they'll be able en route for have sex with her.
All the rage fact, many of the choices author and director Emerald Fennell made although working on Promising Young Woman were designed specifically to unnerve the eyewitness. Below, she also digs into the music choices for the film, after that explains her approach to that appalling ending. How much was that a bite that you essentially wanted to achieve in some way here? It's actually interesting when you're writing about after women are vulnerable and consent, altogether of this sort of thing — what Margaret Atwood explained so adeptly there is that it is an impossible imbalance to overcome. It isn't almost impossible. I don't think it is impossible, but there's a animal mismatch that's kind of a agonize.