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A young fashion designer time travels to the 1960s and encounters her idol, but dark secrets unravel.
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A young girl, ionate about fashion design, is mysteriously able to enter the 1960s where she encounters her idol, a dazzling wannabe singer. But 1960s London is not what it seems, and time seems to fall apart with shady consequences.
"If 'Baby Driver' signified Edgar Wright's maturation as a director, 'Last Night in Soho' sees this style consolidated in service of a co-written screenplay by him and Krysty Wilson-Cairns ('1917') - which, though not perfect, is the most interesting in his filmography to date. The plot follows Ellie (Thomasin McKenzie), a young woman who moves to London to fulfill her dream of becoming a fashion designer. Every night, inexplicably, she has vivid dreams in which she is transported back to the 1960s - her favorite era - and lives as Sandie (Anya Taylor-Joy), a young woman aspiring to be a singer - although her story gradually becomes darker, gradually invading Ellie's reality. This is a psychological thriller that combines influences from the stylized giallos of the 1960s, such as Roman Polanski's 'Repulsion', as well as visual nods to Dario Argento's 'Suspiria'. On the other hand, it also weaves a critique of the idealized filter with which we all - the audience and the director himself - usually look at the "good old days". Perhaps, Wright and Wilson-Cairns propose, those were not such good times and the dream images hide a story of violence and abuse. The final reveal and the denouement will divide opinions and ignite debate in this context, but 'Last Night in Soho' is a type of film increasingly rare, which manages to keep the recognizable mark of a director, offers a social commentary that inspires discussions and entertains as a good blockbuster, all at the same time."