Given the similarities between the two films, I have to ask: Have you seen David Cronenberg’s Crimes of the Future yet? Our conversation covered how he approached the depiction of allergies and autoimmune issues, why his Greek heritage features prominently in the project, and how he hopes to continue building out the film’s world in related works for children. I spoke to Strickland prior to Flux Gourmet’s theatrical and on-demand release in the United States.
This digestive drama proves the key ingredient tying together the disparate plates of Strickland’s story together into a filmic feast that defies easy genre categorization. Strickland finds compassion rather than comedy in the character’s food intolerance and flatulence. As journalist Stones (Makis Papadimitriou) documents the group’s external noises, he’s more focused on the internal noises of his own grumbling stomach. Yet underneath Flux Gourmet’s sardonic surface of lies something entirely sincere. The British writer-director’s latest feature, Flux Gourmet, takes this fascination one step further by exploring how the senses and their related sensibilities collide.Īt an institute for performance, a trio of multimedia experimental performers (played by Ariane Labed, Asa Butterfield, and Fatma Mohamed), who cannot decide on so much as their culinary collective name, attempt to push the boundaries of so-called “sonic catering.” The group’s internal divisions as they clash among themselves and institute head Jan Stevens (Gwendolyn Christie) have all the trappings of a blistering art-world satire. From the sounds of Berberian Sound Studio to the textures of In Fabric, Peter Strickland’s cinema has always been one of sensory immersion.
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