Every so often, a movie comes along that sends culinarily inclined audiences into rapture — “Babette’s Feast,” “Big Night” or “Like Water for Chocolate” spring to mind — getting eyes glistening and mouths watering in anticipation of a meal that only the characters will ever taste. “Flux Gourmet” is not that foodie movie. In fact, “Flux Gourmet” may well send audiences running for the loo, or else reaching for the barf bag, coming about as close to triggering the gag reflux as a film can without actually jamming a finger down your throat.
It’s doubtful that was quite the intention of writer-director Peter Strickland, the content-with-cult-status auteur behind “Berberian Sound Studio” and “In Fabric.” And yet, somewhere around the scene where alimentary performance artist Elle di Elle (Fatma Mohamad) unscrews a stool sample cup and smears the dark chocolaty goo all over her face, audiences will be making like the sickly green Nauseated Face emoji,...
It’s doubtful that was quite the intention of writer-director Peter Strickland, the content-with-cult-status auteur behind “Berberian Sound Studio” and “In Fabric.” And yet, somewhere around the scene where alimentary performance artist Elle di Elle (Fatma Mohamad) unscrews a stool sample cup and smears the dark chocolaty goo all over her face, audiences will be making like the sickly green Nauseated Face emoji,...
- 2/12/2022
- by Peter Debruge
- Variety Film + TV
A hypnotic TV commercial for a local department store beckons — summons, really — shoppers for what amounts to a culturally mandatory annual winter sales event. It’s an ad that’s not unlike the ones for Silver Shamrock in “Halloween III: Season of The Witch,” and in “In Fabric,” it succeeds in the same way, bringing in unhappy bank employee Sheila (Marianne Jean-Baptiste) to look for a first-date dress.
She finds the Ambassadorial Function Dress, color: Artery Red. It’s an alluring garment summed up in the store’s catalog with hyperbolic copy like “body sensual, captivating, candlelight glances, canapé conversations.” Not really Sheila’s size, it somehow fits her perfectly. And though she protests that she normally wouldn’t wear something so bold, the commandingly seductive saleswoman, Miss Luckmoore, doubles down: “Daring eclipses the dark circumference of caution.” There’s really no arguing with that.
Naturally, the dress is haunted.
She finds the Ambassadorial Function Dress, color: Artery Red. It’s an alluring garment summed up in the store’s catalog with hyperbolic copy like “body sensual, captivating, candlelight glances, canapé conversations.” Not really Sheila’s size, it somehow fits her perfectly. And though she protests that she normally wouldn’t wear something so bold, the commandingly seductive saleswoman, Miss Luckmoore, doubles down: “Daring eclipses the dark circumference of caution.” There’s really no arguing with that.
Naturally, the dress is haunted.
- 12/6/2019
- by Dave White
- The Wrap
Good news for those who are (or will be) disappointed that Luca Guadagnino’s “Suspiria” riff is a rebuke to the florid stylings of Dario Argento’s original: “The Duke of Burgundy” writer-director Peter Strickland is back with another mordantly funny and unapologetically fetishistic homage to vintage Euro-horror, and there’s no disguising its dark lineage. Unfolding like the giallo remake of “The Sisterhood of the Traveling Pants” that you never knew you always wanted, “In Fabric” tells the bloody story of a department store in Southern England, and the cursed red dress that fits perfectly on the women who have the misfortune of wearing it.
As much of a loving ode to the transformative power of fine clothing as it is a cheeky condemnation of the consumerism that drives people to buy it, Strickland’s long-awaited new delight might lack the cohesion of his previous film, but “In Fabric...
As much of a loving ode to the transformative power of fine clothing as it is a cheeky condemnation of the consumerism that drives people to buy it, Strickland’s long-awaited new delight might lack the cohesion of his previous film, but “In Fabric...
- 9/8/2018
- by David Ehrlich
- Indiewire
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