In Fabric is easily recognisable as a Peter Strickland film. Few directors have such a ‘personal style’. This fourth feature is perhaps the most removed from the first film, Katalin Varga (UK-Romania-Hungary, 2009) and closer to the other two, Berberian Sound Studio (UK-Germany, 2012) and The Duke of Burgundy (UK-Hungary, 2014). It is the first of Strickland’s films to be set in the UK and this perhaps makes the film ‘feel’ different.
Strickland’s films are absurdist and include elements of horror and comedy and the kind of erotica associated with European exploitation films. They also feature avant-garde soundtracks, on this occasion from Cavern of Anti-Matter based in Berlin. Some audiences find the films impenetratable, some find them comic and others are morally outraged. In this one there are numerous vaginal symbols and an anatomically correct mannequin with synthetic pubic hair – which gets a credit for the designer of the hair, much like the ‘human toilet consultant’ on The Duke of Burgundy.
A brief plot outline (no spoilers)
Sheila (Marianne Jean-Baptiste) is a bank teller in ‘Thames Valley-upon Thames’ (Strickland is associated with Reading). She is divorced from her husband and lives with her teenage son Vince and whose older girlfriend Gwen (Gwendoline Christie) often ‘stays over’. Sheila starts trying to date again and buys a striking red dress in a sale from the local department store, Dentley & Soper (some customers of the John Lewis store in Reading – originally Heelas – will wonder what went on there!). Sheila makes a bad decision! The dress has a life of its own. The narrative follows what happens to those who attempt to ‘own’ and wear the dress.
The story is set in an indeterminate period of the recent past when life was still ‘analogue’. Sheila answers a ‘lonely hearts’ ad in a newspaper and nobody uses mobile phones. The mise en scène generally evokes the 1970s-90s. Although the European touches are still there, this time they take second place to a set of British signifiers which point to ‘horror anthology series’ such as the Amicus films of the 1970s or TV series such as Tales of the Unexpected from the 1980s. In Fabric offers two or possibly three stories associated with the red dress. The European elements include the strange sales assistants at the department store who are dressed in what one reviewer described as ‘Victorian mourning outfits’ and who speak in an almost unintelligible formal language. These women (and the male manager) indulge in various dubious activities in the store’s cellar, accessed by a dumb waiter. I did enjoy the store’s old-fashioned vacuum tube system for sending payments to its accounts office. I was reminded of how shops functioned in the 1950s. I note that the effects team on the production all appeared to be Hungarian. The other European horror element comes from Dario Argento’s gialli.
It took me a while to work out which role Sidse Babett Knudsen plays in the film since she is credited first in the cast list on screen. I wondered if this was a joke (she starred in the previous film, The Duke of Burgundy). Eventually I realised that she was the model in the store catalogue wearing the ‘Ambassadorial Function Dress’ in ‘Artery Red’. It is this attention to detail that remains a joy in Strickland’s films. As well as the great design, Strickland has a strong cast. Marianne Jean-Baptiste best known for her role in Mike Leigh’s Secrets and Lies and Hayley Squires from Ken Loach’s I, Daniel Blake might seem like odd choices but their casting works well. Romanian actor Fatma Mohamed appeared in Strickland’s two previous films and she gives In Fabric its most distinctive character. Most of the rest of the cast is from British TV and the supporting casts of British films.
What to make of all this? Perhaps because of the specific genre elements, this may have been more accessible to audiences than the three earlier films. The people behind me in the cinema laughed and gasped and seemed to be having a good time. In the credits I noted that Ben Wheatley was an executive producer. I don’t know how much, if any, influence he had on the film. I heard someone in the cinema mention Wheatley’s Sightseers (UK 2012) when they read the credit. I’ve only seen Sightseers of Wheatley’s films and because, I didn’t really enjoy it, I haven’t looked for the others. Perhaps this is why I found In Fabric felt different from Strickland’s earlier films? (I realise now two of In Fabric‘s cast have appeared in Wheatley’s films.)
Peter Strickland is a talented filmmaker and I will seek out his next film. In Fabric should be out on DVD in the UK as well as on VOD from Curzon.
I wish I had been able to see this film at the cinema, but missed the showing in Leeds.
I caught a single showing in Hebden Bridge – often a good place to find things you’ve missed. But a bit too far from Leeds?
I caught the screening in Leeds. The film was quite entertaining and Roy sets out the main features of this title. I think actually that ‘the attention to detail’ is at the expense of the overall narrative. I found it difficult to maintain a interest. I have seen all of Strickland’s feature and I incline to think that it is a question of style over substance, especially in this and the previous title.
I have also seen all of the Wheatley films and I did discern an influence here. In Wheatley’s case I think that genre references rather impede those narratives.
Perhaps I am languishing for lost forms but I find many recent films could benefit from script doctoring. Strickland writes his own screenplays and I think they could be improved.
An enjoyable film, more for the subsidiary absurd characters than any mock horror element attached to it. The two representatives of middle management at Ms Jean-Baptiste’s office were worth the price of admission alone, as was the outrageously mangled English of the Fatma Mohamed character. I also really enjoyed Berberian Sound Studio which was slightly more of a classic horror, not so much The Duke Of Burgundy. The problem with Strickland for me, is that he seems to start with a genre which he will purposely send up, to either a greater or lesser extent. The end result in The Duke Of Burgundy seemed to be confusion, but this one worked very well. Although the horror audience would have gone away unhappy.
Itchy to see this singular and eccentric filmmaker’s new film.