Warning: This article may contain spoilers for Last Night in SohoThanks to projects such as Scott Pilgrim Vs. The World and Hot Fuzz, English filmmaker Edgar Wright has become known for his comedic takes on actions flicks. However, the director is less-noted for his unique approach to sequels and general film continuations. Never having made a direct sequel, Wright webbed a loosely-connected trilogy with his “Three Flavours Cornetto” films, and plans to release his first proper sequel someday with Baby Driver 2. However, when it comes to Wright’s stories, the one tale perhaps most deserving of a continuation may be Last Night in Soho.
Last Night in Soho is a 2021 mystery and horror film directed by Wright, and co-written by screenwriter Krysty Wilson-Cairns and Wright. The film follows fashion enthusiast Eloise “Ellie” Turner, played by Thomasin McKenzie, as she relocates from her rural home of Redruth, Cornwall, to the London College of Fashion for her studies. At school, Ellie faces problems almost immediately. The young fashion designer feels she does not fit in, but her academic alienation is quickly disregarded, and often again throughout, all in favor of the many ghosts who haunt her Soho apartment in her sleeping hours.
With the project’s strong elements of fantasy and mystery, Ellie’s time in Soho ends somewhat ambiguously. With a potential continuation, fans of Wright’s horror could see deeper into her journey.
The Ambiguous Ending
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The ambiguous ending of Last Night in Soho suggests that the characters, and the universe, are ready to expand into new territories. Following Ellie’s rental of an age-old Soho flat — owned by the mysterious Ms. Collins — the young student is haunted by the faceless ghosts of men who once visited the room. By the time the audience reaches the film’s conclusion, having learned the truth behind Sandie and her old bedroom, the story appears to have reached its logical end. A left-field occurrence instead implies it all could be part of something larger. By implying Anya Taylor-Joy’s character, Sandie, is not done with Ellie, the protagonist’s internal struggles could be further explored in a sequel.
In between the unfolding mystery of her visitors, Ellie must also face visions of her late mother who, like Ellie, suffered from bouts of illness. With the film’s highlighting of Ellie’s mental health struggle, as a closing note, a continuation could focus on a deeper acknowledgement of her health. Already a thriller with plenty of re-watch value, the ambiguous ending may change how viewers perceive the events prior. Further raising questions of mental illness, the supernatural, and heredity in relation to one another, Soho’s ending implies Ellie’s story is far from over. In returning to her world, audiences could get a better understanding of her internal conflicts.
Exploring New and Past Characters
From the projects in Wright’s filmography, Last Night in Soho is distinct for its low emphasis on comedy: an element arguably present in the majority of Wright’s work. Wright’s brand of comedy is instead replaced by a character-driven study of McKenzie’s fashion student and Taylor-Joy’s Sandie. As the nights go on, Ellie views Sandie’s past life in snapshots: a supposed side effect of sleeping in her old bedroom. However, when the ending sees Sandie appear outside the bedroom, it seems the specter is not done with Ellie.
In a sequel, audiences could be treated to recurring appearances by Taylor-Joy without sacrificing new ghosts and enemies. The ending also welcomes Michael Ajao’s return as John, and Rita Tushingham as Ellie’s guardian, Peggy Turner, so the original cast may reappear entirely. With the future of Matt Smith’s role somewhat up in the air, it may be time for a new villain to step in. Thankfully, the loose and fantastical storytelling elements that Wright employs allow for many possibilities.
Continuing Ellie’s Journey
Throughout the film, protagonist Ellie’s journey is not a gentle one. In place of the ideal college experience she once imagined is, instead, a disorienting horror, comprised of various occurrences which blur her understanding of reality. Inspired by both Quentin Tarantino and the 1968 song of the same name by artists Dave Dee, Dozy, Beaky, Mick & Tich (which caps off the end-credits well), Last Night in Soho started from the bare concept of the original song title. Thought to be a phenomenal, unused end-credits song by director Allison Anders, firstly, then Tarantino, Wright decided to take the concept further by developing a film around the idea. Thus was born Ellie’s trying descent into Wright’s twisted portrayal of Soho.
There is mystique in the unknown of Wright’s flick, but there could be greater strengths in a more precise statement. In addition to further exploring the universe, Last Night in Soho, most of all, deserves a sequel because Ellie’s journey appears far from over. With an already fantastic performance from McKenzie, developing Ellie and Wright’s Soho universe could more directly distinguish the story amongst other horror mysteries.
