Eloise Turner (Thomasin McKenzie) dreams of being a fashion designer and when she is accepted into the London College of Fashion she must leave the quiet countryside of Cornwall for the big city. But Ellie also has another talent, she can sometimes see her dead mother in mirrors and when she arrives in London she discovers another woman from the past that she can see from the 1960’s. Sandie (Anya Taylor-Joy) has a dream of being a singer just like Cilla Black and when she befriends Jack (Matt Smith) she thinks she is on to a good thing. But life does not always pan out how you want it to. 

Opening with a fantastic singalong dance number with Ellie in a dress she has made from newspapers this film instantly grabs your attention and never lets go. It is eminently stylish, filled with beautiful camera trickery, features stunning costumes and a soundtrack to die for. It is also pretty good at upping the horror quotient in its final third to make this co-writer/director Edgar Wright’s first bonafide horror movie. 

The film effortlessly sets up Ellie’s ‘ability’ before explaining to us that her mother also suffered mentally and took her own life. When Ellie arrives in London she finds it hard to bed in with the competitive and bitchy girls in her class. Seeking solace in a bed sit run by Ms Collins (Diana Rigg) she thinks she will be able to spend some time to herself but instead finds her evenings spent through the eyes of Sandie. And here is where the films visual flair really soars with Ellie and Sandie becoming interchangeable with the other being seen in mirror images. The camera soars and swirls around them swapping them out as Ellie lives through Sandie’s eyes.

The way that Wright sets up the past as a halcyon time to live in before crashing it down is an impressive thing to watch. And Ellie’s grip on her sanity slips impressively as well. And the key to all of this is the stunning performances from Thomasin McKenzie and Anya Taylor-Joy. McKenzie is truly a star in the making now following the likes of Leave No Trace and Jojo Rabbit. Here she effortlessly transitions from a naive dreamer to someone losing her mind. Joy on the other hand has proven with The Queen’s Gambit that she almost seems perfectly suited to 1960’s fashion and is stunning in this. 

If there are flaws I suspect that it might not please some commentators in regard to the way it frames sexual violence towards women. I can certainly understand that it’s take on the subject could be considered a little clumsy especially in a third act reveal. 

Personally I found it a visual and aural feast and was floored by those lead performances. Edgar Wright has cemented himself as a must watch director.