We’ve all seen our great share of streaming while in isolation during Covid, but nothing was a better reminder of the power of the big screen than the Edgar Wright-directed, produced and co-penned fantasy-horror-romance Last Night in Soho, from its visceral re-creation of the 1960s London to Anya Taylor-Joy’s sublime crooning of Petula Clark.
The movie follows Eloise, played by the charming Thomasin McKenzie, who is transfixed by the 1960s London which her late mother thrived and died in. She heads to fashion school in London, an industry her mother dabbled in, and begins to experience doppelganger moments whereby she’s in the body of an aspiring singer, Sandie, played by Queen’s Gambit‘s Taylor-Joy. Who exactly is Sandie?
However, the story, despite its nostalgia, goes dark, and it was always intended to be that way for Wright and co-scribe Krysty Wilson-Cairns; the two meeting during the project’s development and “getting along like a house on fire” as the Baby Driver filmmaker describes it. The Oscar-nominated 1917 scribe Wilson-Cairns’ secret weapon? She use to live in London’s Soho neighborhood and many of her haunts make cameo in the movie.
Listen to our conversation below on how the duo transported the 1960s close to 60 years into the future: