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Little White Lies, #84: The Promising Young Woman Issue

135 SEK
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Eschewing hype, gossip and meaningless celebrity, Little White Lies is a bi-monthly magazine that engages with movie lovers who understand that cinema is about broadening your horizons. It’s a tangible representation of the conversation about films that you wished you had. It’s a magazine about truth and movies.

In This Issue:

Our spring issue celebrates first-time director Emerald Fennell’s scorching black comedy.

Being angry is exhausting. It saps your time, your energy, your resources – it eats away at you until all that’s left is a vibrating husk of barely-concealed rage. I’ve been so angry for so long at so many injustices that blight our society, it’s often difficult for me to really get a handle on that all-consuming wrath, and more importantly, channel it into something more productive than impotently raging at the general machine. It’s some 30 years since John Lyndon shouted “Anger is an energy!” in Public Image Ltd’s ‘Rise’,  but the sentiment remains. As cathartic as a primal scream can be, I’m all for finding ways to harness my disgust at the current world order for good.

Even before I joined team LWLies, I really believed in its strapline: ‘Truth & Movies’. That’s what we strive for here, and I strongly feel our latest issue, celebrating Emerald Fennell’s incendiary feature debut Promising Young Woman, reflects this editorial aim. It’s not often we get to showcase a debut feature (the last one was Mike Cahill’s Another Earth) but we’re excited to be championing Fennell’s fiercely original film, which feels particularly pertinent given the fraught cultural moment we’re living in.

In Promising Young Woman, Carey Mulligan is a woman driven to take drastic action relating to an “incident” that occurred some years previous during her time at medical school. It’s hard to ignore the relevance of Fennell’s film to the ongoing movements around #MeToo and Time’s Up, but conversations around female trauma at the hands of a male-dominated society didn’t start with these movements and won’t end with them either. Fennell’s pitch-black comedy is hard to stomach at times, but a piercing, vital addition to the growing canon of films that allow women to speak for themselves rather than through the gaze of men.

On the cover

We reached out to Belfast-based illustrator Laura Callaghan to provide our cover and endpapers, and she definitely delivered. Her hand-painted portrait of Carey Mulligan as femme fatale Cassie Thomas certainly packs a punch. We previously featured Carey on the cover back in 2009 for An Education. She joins the illustrious ranks of Robert Pattinson and Joaquin Phoenix in our Two Covers Club.

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