“Flux Gourmet,” the new smorgasbord of sensation from Britain’s preeminent oddball Peter Strickland, is all about personal expression (read our review). And not just in the artistic sense, though the film does take place at the prestigious Sonic Catering Institute, where experimental music groups receive funding and support for their work generating blizzards of feedback by plugging modular synthesizers into food.
‘Flux Gourmet’ Film Review: Peter Strickland’s Culinary Art-Happening Hungers for Sonic Truth
24.06.2022 - 03:21 / thewrap.com
Elle di Elle (Fatma Mohamed) and her collaborators Billy Rubin (Asa Butterfield) and Lamina Propria (Ariane Labed), all of whom rise, walk and smoke in sync — at first, anyway, before the friction and infighting begins — the prospect of freedom to create their specialized brand of performance is a dream come true. Together they pantomime the process of grocery shopping, attach microphones, effects-generating equipment and amps to their prep stations, then chop and cook vegetables like stylish monks in materialist prayer.But Elle di Elle is a control queen to rival The Fall’s Mark E.
Smith, and it’s her way or the highway. Intentionally transgressive, a master of crafting conceptual packaging for her work, she’s a one-woman Viennese Actionism movement, with a desire to “go further and further into oblivion,” and given to smearing her naked body with various condiments, sauces — and more — in performances (one of which vibrantly evokes Diamanda Galas’s blood-soaked “Plague Mass”).
Elle is also indecisive, quick to blame others for mistakes (she drops a bottle of olive oil on a staircase and makes her bandmates clean it up), determined not to give an inch to her colleagues ideas or to Jan Stevens’ routine yet insidious suggestions and notes, and angry when contradicted.Rounding out the dysfunctional ensemble is Stones (Makis Papadimitriou), a man with an upset stomach. The shy, reticent, perpetually worried Stones documents the actions and performances of the group, does his best to remain an invisible presence, and endures the gastrointestinal misdiagnoses of the cruel and pompous art groupie Dr.
Glock (Richard Bremmer). Mostly, though, he spends his time trying desperately to hold in his overwhelming and painful gas.But
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theplaylist.net
20.06.2022 / 21:21
‘Flux Gourmet’: Peter Strickland On Taboos, Kink & Finding The Dignity In Flatulence & Gastronomical Problems [Interview]
“Flux Gourmet,” the new smorgasbord of sensation from Britain’s preeminent oddball Peter Strickland, is all about personal expression (read our review). And not just in the artistic sense, though the film does take place at the prestigious Sonic Catering Institute, where experimental music groups receive funding and support for their work generating blizzards of feedback by plugging modular synthesizers into food.
thewrap.com
16.06.2022 / 23:57
‘The Lost Girls’ Film Review: Post–’Peter Pan’ Tale of Wendy’s Daughters Remains Dully Earthbound
deepfake look. The thirsty orange wigs plopped atop the heads of Minto and Carey do not help with the aesthetic authenticity. The storytelling is unnecessarily convoluted, with flashbacks and time jumps on top of the drifting between fantasy and reality, and the acting is dismal.
theplaylist.net
15.06.2022 / 22:29
‘Flux Gourmet’: Peter Strickland On Taboos, Kink, & Finding The Dignity In Flatulence & Gastronomical Problems [Interview]
“Flux Gourmet,” the new smorgasbord of sensation from Britain’s preeminent oddball Peter Strickland, is all about personal expression (read our review). And not just in the artistic sense, though the film does take place at the prestigious Sonic Catering Institute, where experimental music groups receive funding and support for their work generating blizzards of feedback by plugging modular synthesizers into food.
thewrap.com
15.06.2022 / 22:03
‘American Dreamer’ Film Review: Peter Dinklage Real-Estate Comedy Requires Major Repairs
surprise, after the two have barely shared a few drinks and a roll in the hay. We have hardly seen her, and Melfi already paints this grown woman as immature and delusional. Clare is far from Phil’s only female problem. Maggie (Kim Quinn, “The Starling”), one of Astrid’s children, is an attorney specializing in estate law, who seeks to nullify the property sale by claiming Astrid has dementia.
thewrap.com
13.06.2022 / 22:49
‘Lightyear’ Film Review: The Pleasures of Pixar’s Spin-Off Are Far Too Finite
Pizza Planet? What about a jokey reference to the “Woody’s Roundup” TV show for viewers the age of Andy’s mom? And let’s face it: as admirable as it is that Pixar has created an LGBTQ character that can’t easily be dubbed over in foreign markets (the ones that demand that sort of thing will certainly find a way), there was no such thing as a mainstream studio kids’ movie of 1995 — not even an adult-aimed studio movie — progressive enough to pair a white male protagonist with a Black lesbian confidante.The most 1995 aspect of “Lightyear” comes from Evans’ performance, but only if you imagine he’s intentionally impersonating George Clooney for the entire movie; that’s how it sounds, anyway. The laughs generally come from Sohn, Aduba and Taika Waititi as an inexperienced member of the Space Ranger reserves who gets pressed into service.