🔴 Watch In Fabric (2018) Full Movie
Date: 2020-03-04 05:15:06
Viewed: 165 times - 1 day, 1 hour, 51 minute, 55 second ago
In Fabric is a 2018 movie, directed by Peter Strickland.
Fluorescent colors, retro luminescence and atmospheric synthesizers: a few seconds are enough at the beginning of Peter Strickland's last film to realize which stylistic register the English author is referring to. Not that an explicitly vintage choice has such an effect these days, given the rapidity with which the visual style of Italian yellow seems to be back in vogue. Strickland, however, who has already had something to do with the horror world of the 70s (whoever is interested can try his hand at Berberian Sound Studio's acoustic delirium), seems to know a lot about visual and representative questions. And in fact his In Fabric, previewed at the Turin Film Festival last year, around these aesthetic dynamics does not just build his own stylistic figure but even bases his narrative mechanisms. "Killer dress" was named by some the dangerous red dress that represents the thematic and narrative fulcrum of the film.
It almost seems like a joke, but there is little to laugh about: the dress with which the protagonists of In Fabric come into contact seems to have the aim of tormenting the lives of unfortunate buyers. A premise between the serious and the facetious that Strickland embraces in all its shades of tone, expertly alternating horror and irony in what could be called an ironic parable of supernatural horror. The tendency towards sensory accumulation, already explained in the opening credits, soon reveals itself as the engine of the action of this redundant and aggressive film. It is difficult to select a specific narrative motif in this chaos of inventions: between orders with a Gothic-vampire look and mannequins with bloody genitals, passing through crazy washing machines ready to tear the flesh of those who approach it, that of Strickland resembles a large collector of images and ideas, ironic and horrifying in turn, ready to lash out violently against the viewer.
To keep it all together there is an obvious attempt to outline, through this ramshackle story, a discourse on the role of the aesthetic-visual element in the context of a daily consumerism portrayed, especially in the first part, with adequate wealth of details. This reflection, which if on the one hand legitimizes and elevates the stylistic choices of the operation, on the other risks in the long run to undermine its structural foundations. In fact, when the plot leaves, for reasons that we will not reveal, the initial narrative framework to move elsewhere, the film inevitably loses its bite, ending up diluting what was the key point of the entire operation. It is precisely in an attempt to justify its aesthetic brilliance, therefore, that In Fabric tends over the long term to become a mere exercise in style. A deliberate choice, perhaps? Difficult to say. In doubt, all that remains is to indulge in the vintage flavor and the great realization of the sensory symphony composed by Strickland. In this sense, at least, it is difficult to deny him a little attention.
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