The first thing you notice in Peter Strickland’s “In Fabric” are the synthesizers. It’s impossible not to—the hypnotic, brazen, constantly-droning score from German alternative group Cavern of Anti-Matter makes the music of “Stranger Things” feel tame in comparison. Once the credits roll two hours later, however, the synths are far from the most evil element of Strickland’s viciously bizarre horror movie, in which consumption is the all-powerful curse of capitalism literalized in bloody, discordant ways.
Undercurrents of eroticism and sinister intention dominate the socially abrasive world of Strickland’s film (an A24 joint if there ever was one), making it easy to be on the side of the middle-aged Sheila (played by the English actress Marianne Jean-Baptiste, whose work in 1996’s “Secrets & Lies” garnered her an Oscar nomination) as she searches for a second shot at love. Meanwhile, her son’s friend/artistic model/sexual partner (a vampiric Gwendoline Christie, making me curious why she isn’t being cast in projects left and right) practically moves into their home, and the managers at the bank where she works humiliate her daily, to cartoonish levels. Continue reading →