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Wright, known for his award-winning British period dramas Atonement, Pride and Prejudice and The Darkest Hour, takes a radical departure in M. Son of the Century. Inspired by the experimental filmmakers of the 1920s, particularly the Italian Futurist movement, he uses every stylistic trick in the book: crosscutting newsreel footage with his actors’ performances, using old-school back projection to show activity outside Mussolini’s car window, setting the most brutal violence of Il Duce’s gang of black-shirted thugs to a hypnotic techno beat composed by Tom Rowlands, one half of the British electronic music duo the Chemical Brothers.

“The use of the Chemical Brothers’ music felt completely anachronistic. However, it felt like it had the right energy for the futurists. A lot of the grandfathers of house music and techno were inspired by the futurists. Combining the modernity of the Chemical Brothers with Howard Hawks’ gangster aesthetic in Scarface (1932) and the futurism of [Soviet experimental filmmaker] Dziga Vertov in Man With a Movie Camera (1929) felt like an exciting way to tell our story.”

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