The Aristocrat, the Mockumentary, and the Raven: Why 'Lady' is More Than Just the Next 'Saltburn'
There’s something undeniably captivating about a film that dares to blend the absurd with the aristocratic. When I first heard about Lady, a new dark comedy shot at Somerleyton Hall in Suffolk, my initial reaction was, “Here we go again—another tale of the upper crust gone wild.” But as I dug deeper, I realized this isn’t just a rehash of Saltburn’s envy-soaked narrative. It’s something far more intriguing—a mockumentary that feels like a funhouse mirror held up to the elite, with a dash of surrealism and a raven thrown in for good measure.
The Setting: When a House Becomes a Character
Somerleyton Hall isn’t just a backdrop; it’s practically a protagonist. Lady Lara Somerleyton, the real-life owner, describes the 5,000-acre estate as “almost like a character in the film itself.” Personally, I think this is where Lady diverges from Saltburn. While Saltburn used its stately home to underscore themes of class and desire, Lady seems to embrace the absurdity of its setting. The fact that the family’s pet raven was written into the script—and the fictional estate renamed Ravenside Hall—speaks volumes. It’s as if the film is winking at us, saying, “Yes, this is ridiculous, and we’re leaning into it.”
What makes this particularly fascinating is how the setting reflects the protagonist’s descent into narcissism. A lonely aristocrat persuading a filmmaker to document her every move? It’s a premise that feels both modern and timeless. In my opinion, the estate becomes a metaphor for her obsession with attention—grand, imposing, and ultimately isolating.
The Narcissist and the Unhinged: A Character Study
Let’s talk about the protagonist, played by Sian Clifford. Lady Somerleyton insists the character isn’t based on her, and I’m inclined to believe her. After all, as she puts it, the character is “a total narcissist, and clearly a little bit unhinged.” But what many people don’t realize is how this kind of character can serve as a mirror to our own obsessions. In an age where social media turns everyone into a performer, the film’s exploration of narcissism feels eerily relevant.
One thing that immediately stands out is the mockumentary format. It’s a bold choice for a first-time feature film team, but it works. By blurring the lines between reality and fiction, the film forces us to question what’s real and what’s performative. If you take a step back and think about it, isn’t that the core tension of our digital age?
The Saltburn Comparison: Fair or Forced?
Every article about Lady seems to mention Saltburn, and I get it—both films are dark comedies set in grand estates. But here’s where I diverge from the crowd: Lady isn’t just Saltburn with a different accent. While Saltburn was a sharp critique of class and envy, Lady feels more like a surrealist exploration of identity and obsession. Peter Bradshaw’s description of it as “Saltburn on shrooms” is spot-on, but it’s also reductive.
What this really suggests is that we’re in a moment where the aristocracy is ripe for reinvention on screen. From The Crown to Downton Abbey, these settings have always been fertile ground for storytelling. But Lady takes it a step further by injecting a dose of absurdity. It’s not just about the elite—it’s about the absurdity of trying to maintain relevance in a world that’s constantly changing.
The Broader Implications: Why This Film Matters
Here’s where I get speculative: Lady could be a sign of a larger shift in how we tell stories about the wealthy. Gone are the days of reverent period dramas. Instead, we’re getting films that laugh at, critique, and deconstruct the elite. It’s a reflection of our collective exhaustion with the 1%—but also our fascination with them.
A detail that I find especially interesting is the film’s production story. Directed and produced by first-time filmmakers who are friends with Lady Somerleyton, it feels like a passion project that somehow made it to the big screen. This raises a deeper question: How often do we get to see stories like this, born out of personal connections rather than studio mandates?
Final Thoughts: The Raven’s Last Caw
As someone who’s always been drawn to films that challenge conventions, Lady feels like a breath of fresh air. It’s outrageous, yes, but it’s also thoughtful. It doesn’t just mock its protagonist—it invites us to reflect on our own obsessions.
Personally, I think the raven is the unsung hero of this story. It’s not just a pet; it’s a symbol of the film’s willingness to embrace the weird and wonderful. And isn’t that what cinema should be about? Not just telling stories, but telling them in ways that surprise and provoke.
So, is Lady the next Saltburn? Not exactly. But is it a film worth watching? Absolutely. Because, in the end, it’s not just about a narcissistic aristocrat—it’s about all of us, and the lengths we’ll go to be seen.
