Peter Strickland Latest Celebrity News & Gossip

Naman Ramachandran Universal’s ‘Ticket to Paradise,’ starring Julia Roberts and George Clooney, and Warner Bros.’ “Don’t Worry Darling,” with Florence Pugh, Harry Styles and Chris Pine, were in a close tussle at the U.K. and Ireland box office, with the former winning narrowly. “Ticket to Paradise” collected £2.8 million ($3.03 million) to top the box office, edging “Don’t Worry Darling,” which took £2.7 million ($2.99 million) to second place, according to numbers released by Comscore. Disney’s “Avatar” rerelease placed third with £1.2 million. After two weeks atop the box office, Disney’s “See How They Run” dropped to fourth position in its third weekend with £473,222 for a total of £3.6 million.

EXCLUSIVE: Longtime IFC Films and Cinetic Media PR colleagues Laura Sok and Kate McEdwards are launching new PR and strategy firm, Track Shot.

Although he is rightly judged as being in the vanguard of British independent cinema, Mark Jenkin nonetheless seems out of place in such company. Unlike his contemporaries—Peter Strickland, Lynne Ramsay, Andrea Arnold, Clio Barnard, and Jonathan Glazer, among others—he is a strict formalist, creating expressions through the rhythms and combinations of images and sounds rather than through conventional narratives or theatrical gestures.

Scottish filmmaker Charlotte Wells’s debut feature Aftersun has bagged three awards in the British Independent Film Awards (BIFA) craft categories, the year’s most wins.

Having premiered at the Cannes Film Festival, the BFI London Film Festival, and the 60th annual New York Film Festival this year, if we’re going to call out a breakout horror for this year, it probably has to be British filmmaker Mark Jenkin’s “Enys Men.” And arguably, between Jekin, Ben Wheatley, and Peter Strickland, it’s safe to say that the creepy subgenre of freaky folk horror—think “The Wicker Man”—is really going through a renaissance period thanks to English filmmakers.

Scottish filmmaker Charlotte Wells’s debut feature Aftersun leads the nominations for this year’s British Independent Film Awards with a sweeping 16 nods, including Best Director and Best film.

The Edinburgh International Film Festival has unveiled the complete line-up for its 75th Anniversary edition (August 12-17) as it gears up for its first full-scale roll-out since the beginning of the Covid-19 pandemic.

Naman Ramachandran Armağan Ballantyne’s gibberish comedy “Nude Tuesday” will be the central gala at the 75th Edinburgh International Film Festival (EIFF). In the film, which has previously played at Tribeca and Sydney, 40-somethings Laura (Jackie van Beek) and Bruno (Damon Herriman) head to a three day couples’ retreat run by relationship and sexual healing guru Bjorg Rasmussen (Jemaine Clement) in an effort to rekindle the spark in their troubled marriage.

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.

“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,” 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,” 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.

Sidse Babett Knudsen, star of returning Danish political TV drama Borgen, has rejected the idea that the series may continue past its brand new fourth season, set to debut in the US and UK on Netflix on June 2.

Mark Jenkin’s 2019 film Bait had the rare distinction of being a genuine out-of-the-blue discovery, featuring heavily on UK critics’ year-best lists after a modest arthouse release by the BFI. The black-and-white film’s experimental style was emphasized in all its press coverage, nodding to avant-garde auteurs like Stan Brakhage, Derek Jarman and Guy Maddin — all directors who are interested in the literal grain of film and video (indeed, Jenkin reportedly developed the negative with coffee and washing soda then distressed the image by hand). Throw in post-synch sound, and you have a film more likely to screen to two people and a dog at a smoky underground 1960s cine-club than win a BAFTA. 

“I wanted to write something devoted to the disruptions of the stomach.” Peter Strickland may be the only director who could say something like that and really mean it. After all, he is the master of minutia filmmaking, creating certified head-spinners and sensual dreamscapes from cursed red dresses (“In Fabric”), creepy audible quivers (“Berberian Sound Studio”), and lepidopterologically-charged S&M (“The Duke of Burgundy”).

Patrick Frater Asia Bureau ChiefCharlotte Gainsbourg-starring “The Passengers of the Night” and Ralph Fiennes- and Jessica Chastain-starring “The Forgiven” are among the first batch of movies revealed by the Sydney Film Festival. The festival is planning an in-person event running 8-19 June, 2022.Australian-produced titles include dance film “Keep Stepping”; “Sissy,” which mixes social media and horror; music title “Six Festivals”; and intimate portrait “The Plains,” which had its premiere in Rotterdam earlier this year.The 22-film advanced lineup also leans heavily on other festival favorites.

Jamie Lang After a banner 2021 for high-end genre films, industry vets are hopeful that the fantastic can resurrect the corpse of pre-COVID theatrical distribution.As bolts of lightning reanimated the body of Frankenstein’s monster, Julia Ducournau’s “Titane,” which turned heads when it took the Palme d’Or at Cannes, and Sundance Grand Jury prize-winner “Nanny,” a supernatural tale from director Nikyatu Jusu, have revitalized the festival scene.While “Nanny” may have been the jewel in the genre crown at Sundance, the influence that genre cinema held over 2022’s first major festival was wide-ranging and undeniable. Chloe Okuno’s psychological thriller “Watcher” impressed — segueing into several sales deals — as did Hanna Bergholm’s psycho-horror feature “Hatching,” sold by Wild Bunch and Charades-sold Spanish standout “Piggy,” the follow-up to Carlota Pereda’s 2019 Spanish Academy Award-winner “Cerdita.” Among genre titles at Berlin this year are Dario Argento’s serial killer thriller “Dark Glasses” in the Berlinale Special section, while Bertrand Bonello’s subconscious voyage “Coma” and Peter Strickland’s gory “Flux Gourmet” (pictured above) feature in Encounters.

Outré horror maestro Peter Strickland is back. The filmmaker behind such Eurotica, vintage, throwback classics such as “Berberian Sound Studio” (2012), “The Duke of Burgundy” (2014), and “In Fabric” (2018), returns to the Berlin Film Festival this week (today, in fact), with his latest deliciously bizarro offering, “Flux Gourmet.” The premise? Something like beef within the culinary/sonic art collective world and a whole set of egos and intestinal issues.

Peter Debruge Chief Film CriticEvery so often, a movie comes along that sends culinarily inclined audiences into rapture — “Babette’s Feast,” “Big Night” or “Like Water for Chocolate” spring to mind — getting eyes glistening and mouths watering in anticipation of a meal that only the characters will ever taste. “Flux Gourmet” is not that foodie movie.

The adage “write what you know” works well for writer-director Peter Strickland with his Berlin Film Festival Encounters feature Flux Gourmet. The former member of The Sonic Catering Band makes rich work of a fictional culinary performance collective, while also tackling taboos in the depiction of stomach problems on screen.

Just as the Tiktok-ers and Instagrammites of the world had completed the mainstreaming of ASMR, master of the tactile Peter Strickland has returned to restore the unsettling, alien quality to sensation. In “Flux Gourmet,” his latest and most bizarre film — a hotly contested title he earns with this feverish stew of murdered turtles, torrid orgies, and heartrending fart-tending — texture is everything.

Outré horror maestro Peter Strickland is back. The filmmaker behind such Eurotica, vintage, throwback classics such as “Berberian Sound Studio” (2012), “The Duke of Burgundy” (2014), and “In Fabric” (2018), returns to the Berlin Film Festival this week (today, in fact), with his latest deliciously bizarro offering, “Flux Gourmet.” The premise? Something like beef within the culinary/sonic art collective world and a whole set of egos and intestinal issues.

Naman Ramachandran British auteur Peter Strickland is back with his fifth feature, “Flux Gourmet,” and it is as striking and uncompromising as his previous body of work, which includes “In Fabric” (2018), “The Duke of Burgundy” (2014), “Berberian Sound Studio” (2012) and “Katalin Varga” (2009). “Flux Gourmet” world premieres at the Berlin Film Festival’s Encounters strand on Feb. 11.The film follows a sonic collective trio with rocky interpersonal dynamics, who take up residency at an institute devoted to culinary and alimentary performance and have to answer to the institute’s head, who has her own opinions about their work.

British outré filmmaker Peter Strickland is stuck in the past in the very best sense of the phrase. Whether he’s making eerie, giallo throwback pictures (“Berberian Sound Studio”), psychedelic softcore fetish control movies (“The Duke Of Burgundy”), or strange, bizarre horrors that are a mix of English kitchen-sink realism and ghoulish creepiness (“In Fabric”), Strickland is always creating some kind of vintage, throwback picture with heavy nods to the ‘60s and ‘70s of erotic, kink, strange, and left-of-center cinema.

It feels like yesterday that I was on the phone to Berlinale directors Mariette Rissenbeek and Carlo Chatrian following their pre-recorded video announcement of the 2021 festival program, the three of us casting an eye forward to the following year with the hope that this pandemic would finally be behind us.

While somewhat arbitrary and beholden to what’s finished, what’s available, and what’s ready, film festivals tend to have good years and bad years, depending. And well, after several good years, where the Berlin Film Festival has re-established itself as a significant player in the world cinema film festival sweepstakes, the Berlinale has really upped the ante in 2022 with a terrific line-up.

Brent Lang Executive Editor of Film and Media“Flux Gourmet,” the new film from Peter Strickland, will be released by IFC Films in North America. The movie, which is backed by IFC Films, Bankside Films, and Head Gear/Metrol Technology, quietly wrapped production.

Horror likes to warn of us many societal ills. Last year, Peter Strickland made the horror-comedy “In Fabric,” about a hexed killer dress that curses everyone who wears it.