Co-written with Krysty Wilson-Cairns (“1917”), Wright’s “Last Night in Soho” is funny and chaotic, slick and stylish, and falls apart in its confounding second half. Soon the bounds between reality and fantasy blur, and Ellie’s dreams become nightmares. It’s a wonderful set-up for Ellie until she begins to dream of being Sandy ( Anya Taylor-Joy), a swinging, young blond woman who lived in 1966 London. Collins ( Diana Rigg, in her final film role). She rents a vintage flat from a strict but seemingly caring Ms. After receiving a lukewarm reception from her college mates-they tease the creative Ellie for wearing the clothes that she made, and for her humble country origins in Cornwall-she decides to move out on her own. But her doting grandmother (a touching Rita Tushingham) fears for her: she can see and feel emotions others cannot, a kind of strong psychic link to her environment. Likewise to her mother, Ellie, who worships the styles and music of the 1960s, decides to relocate to London for fashion school. Now Ellie sees her visage in every mirror. Her mother moved to London only to die by suicide. But a ghost haunts her: Ellie’s mother had similar desires of working as a designer.
![who sings she who sings she](https://cdn11.bigcommerce.com/s-7f9rxjod7c/images/stencil/500x500/products/278256/459600/SLPTBKH8616__60080.1571937374.jpg)
Eloise “Ellie” Turner ( Thomasin McKenzie), the wide-eyed protagonist at the heart of director Edgar Wright’s stylish yet thematically inert horror/comedy "Last Night in Soho," has big dreams of becoming a fashion designer.