In Fabric
-
Commodity Fetishism
The visual exquisiteness of Peter Strickland’s films has sometimes led to them being regarded as precious bon-bons—laced with strychnine—that favor style over substance. It’s an argument that applies no more to his self-financed feature debut Katalin Varga (2009), an unsentimental neo-Gothic rape revenge drama, than to his harrowing giallo homage Berberian Sound Studio (2012) or his depiction of an inverse Domme/sub relationship in The Duke of Burgundy (2014). Each of these movies is a penetrating psychological study of a character struggling to survive victimhood and the unfair hand she or he has been dealt. If you don’t sympathize with Katalin […]
by Graham Fuller on Dec 10, 2019 -
TIFF 2018 Critic’s Notebook 3: In Fabric, The Grand Bizarre
Like The Duke of Burgundy, Peter Strickland’s In Fabric isn’t a giallo but feints at the genre, wrapping itself in lovingly reproduced trappings to pursue an entirely different agenda. Burgundy was an unexpectedly emotional examination of the difficulties of mutually negotiating the obstacles of a long-term relationship; Fabric is unemotional, its primary instincts either mischievous or satirical. It’s a pretty good time—too long, which makes it just like pretty much every cult movie ever made, so that’s appropriate. The opening credits list legendary British soundstage Twickenham Studios as one of the production companies, and the credit’s no joke: the movie takes place almost entirely […]
by Vadim Rizov on Sep 8, 2018
