From the director of
In Fabric comes
Flux Gourmet. This black comedy film written and directed by Peter Strickland. Set at an institute devoted to culinary and alimentary performance, a collective finds themselves embroiled in power struggles, artistic vendettas and gastrointestinal disorders.
The film stars Asa Butterfield, Gwendoline Christie, Ariane Labed, Fatma Mohamed, and Makis Papadimitriou. Featuring standout performances from the cast with Christie looking like the female Vogue version of Coppola's Dracula while delivering the most deliciously tortured formal dialogue, making the film is a hoot.
The film is well acted, mounted and designed, and defiantly weird in a way that will leaving you talking for hours/days/months afterwards. A film with comedic depths exploring a new subject matter... what's not to love, right? Well, the structure of this film is where people are going to decide whether it's just a confusing journey or whether it's an amazing movie. This is not the film to see if you're after a sleazy good time. It's more like a game of hunt the symbol, with possible interpretations scattered so thickly it is hard to pick just one. With such a promising premise that could have been strange but alluring, you're left with a confused and irritating feeling that nothing really made sense. Strickland has crafted a devilish comedy here, what with his attention to dialogue that can bang the doldrums or rasp the mind as it so pleases. If you're a devotee of cinema of the weird like me and dig the outré stylings of Wes Anderson, the film is a good bet for you. It feels so tantalizingly close to a perfect, atmospheric film. Still, fans of Strickland's work will continue to find a lot to love here. At its best, the film achieves a density that transcends weirdness to become authentically alien-nightmare stitched into its very tissue. Strickland packs more wildly ravishing moments into the first fifteen minutes of the film than most filmmakers could muster in their entire careers. Had the pacing issues been worked out, or the message populate some of the boringly handled transition sequences, the film might have been something really special. If the film is initially hindered by the literalism of Strickland's vision, it still manages to prove irritatingly suspenseful, at times even pleasurably shocking. Strickland is a genre fetishist with a dark, delirious sense of humor, and the film is his most ecstatically demented fantasia to date. The film isn't for everyone, and it's that way by design. For those attuned to its sensibilities, however, it's a delightfully eccentric world to get lost in for a couple of hours. Strickland's films, while profoundly cerebral, are always meant to processes playfully and instinctually. Like a breathy Serge Gainsbourg song caught on celluloid, it's evocative as the feel of silk sliding over skin. The film is still a constantly captivating one through its aesthetic elements, and makes for a very entertaining and engaging experience, even if it does suffer from some problems surrounding its plot, structure, and reliance on metaphor.
Simon says Flux Gourmet receives:
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