There’s a murder on the dance floor, and Barry Keoghan refuses to kill the groove. The 31-year-old Saltburn star goes fully nude in the promotional video of Vanity Fair‘s 30th Annual Hollywood Issue.
In the clip, which was released on Wednesday, a slew of A-listers rock their glam best on the trifold cover, including Bradley Cooper, Natalie Portman, Pedro Pascal, Colman Domingo, Jodie Comer, Lily Gladstone, Greta Lee, Charles Melton, Da’Vine Joy Randolph, and Jenna Ortega.
As the stars chat, laugh, and show off their looks, everything seems pretty tame until the final star makes his appearance. Keoghan, who made a name for himself in 2023 playing the disturbed Oliver Quick in Emerald Fennel’s Saltburn, strutted his stuff across the cover with a white backdrop. First standing with his back to the camera, Keoghan then turns, covering his manhood with his hands and laughing while fully nude.
The moment is a callback to the ending scene in Saltburn when Keoghan’s Oliver dances naked through the Catton estate. But while he goes full-frontal in Saltburn, Keoghan showed a bit more modesty in the VF video.
The magazine jokingly called the cover its “cheekiest yet,” though Keoghan did don a full black suit for the actual cover image.
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“I do dance around naked though, in my house,” Keoghan says in the subsequent Vanity Fair interview. “Everyone does, man. We all sing in the shower. We all act silly when we’re alone and we feel this freedom. It’s one thing that I did relate to. Not dancing around a manor of that sort with that f**king drip hanging about — but I sing out loud, I dance silly and move my body silly.”
Of the fame that has come with his role in Saltburn, Keoghan adds, “I’m not used to this much attention. It’s overwhelming, if I’m quite honest. It’s almost a different kind of life that you’ve got to be living now. I just want to make movies and fecking play parts and work with filmmakers, and not focus on this noise too much.”
He notes that he’s comfortable being nude, adding, “I think it’s true art. It really is. And it’s true vulnerability as well. You’re really kind of putting yourself out there in the most vulnerable state. It’s beautiful to look at. I’m not saying it’s because of my body, but it’s freeing to see that body move around in the way it does. It’s like a moving painting, almost.”
