The Cornell case puts “Promising Young Woman” back in focus
It makes perfect sense that Emerald Fennell’s debut film, “Promising Young Woman,” is divisive. In fact, divisive isn’t quite the right word. Since its 2020 release, “Promising Young Woman” has become a lightning rod for heated conversation — quite a far cry from its initially warm reception, which led to five Oscar nominations and one win. Much of this radioactivity results from Fennell’s proclivity for pushing buttons (a habit I defended earlier this year). But in the case of “Promising Young Woman” — about Cassie (Carey Mulligan), a directionless 30-year-old who spends her free time pursuing cosmic justice for her late best friend Nina, whose death was the byproduct of a brutal sexual assault — the discourse is understandable. Fennell wanted to make audiences uncomfortable right out of the gate. And to create this air of discomfort, Fennell crafted a movie that darts from hopeful to despairingly bleak in the blink of an eye. Fennell’s acid-tongued rape-revenge film is caustic and cruel; a feel-bad film for, as Salon described it then, “the #MeToo times.” And …









