Peter Strickland, director of FLUX GOURMET

“I sometimes wonder if you are maintaining an ancient form of Epicurean poison with all this pure hysteria.”

That arc line of dialogue can serve as a litmus test, and perhaps on whether you can find your way into Peter Strickland’s Gonzo gastro satire, or not. Phlox gourmet.

The film manages to document its author-director’s fearless immersion in esoteric subcultures and inevitably productive workplaces. From each of his films Berberine Sound Studio To Duke of Burgundy To In fabricSlightly more ‘out there’, but contradictory still maintains a wider universality and comments on people’s fears and failures.

And yet, to say the least Phlox gourmet His weirdest movie yet, somehow, is still a small thing. Here, Sonic Caterer Collectives, rich patrons of the fine arts, are given money, accommodation and creative space, the Musical and Performance Act explores the socio-political subtext of domestic kitchen labor, and the distorted noise of food preparation. In the creative struggle of war, mistreatment results.

I recently had the opportunity to have a brief, virtual conversation with Peter Strickland about the unusual sounds and places in it. The following interview has been lightly edited for clarity and fluency.

Kurt Half Yard: FLUX GOURMET is in my mind anyway, somewhere there is a continuity between the spinal tape and the sweet movie. This is a world where Sonic Catering is a great genre of theater and entertainment. Where did the idea come from, and how did it get into the FLUX GOURMET?

Peter Strickland: It is interesting that you are mentioned. Sweet movieBecause I never saw him. Isn’t that what Vienna’s action guests are? This is Dušan Makavejev, right? Of course, this is one that has a lot of skeletalism.

I should see it, I should really see it. But I’m familiar with Actionist, and I’ve seen some of them. Which is a bit harsh for me, killing animals, etc., but I guess the whole place, where you keep breaking taboos all the time, and given the value of the trauma, I wanted to find out when that mix Come face to face with Papadimitrio. the role [Stones]Which they feel can hijack its problems in order to break the taboo and continue their quest.

Something really connected with me is that we have never seen a representation of stomach problems before, when it is so common. Part of it is very serious, we need to look at it, hopefully with some kind of dignity. But given the taboo and what it means, whether it’s a creative total-de-sac, it could become a macho one-up manship. But when the taboo thing is something that frees people from talking about things like stomach ache, or sexual pleasure, it’s quite a healthy thing.

There is a lot of music I was listening to that was related to this topic, I mean the value of shock. Bands like Throwing Gristle and White House.

There is a link between stomach upset and noise.

Not only in terms of clear connections, but also in terms of allowing you to leave without hearing. Stone’s job is to be invisible, he’s the equivalent of an electronic press cut person, and he deals with bands that deal with noise. This is a great place to hide.

As a means of concealing noise, but also as catharsis, as a listener, I am still trying to express it verbally, but why does extreme noise somehow clear me? ۔ People like Marzbo or Swans or even some early suicidal things, it’s in the movie, one character talks about it, the characters are looking for sub-catharsis in their own way.

I feel like there’s this kind of feminine magic going on in every one of your movies, from Berberine Sound Studios. An overhead shot from a woman’s long nails dropped the flesh into a glowing pan which really strengthened that thought for me. Can you comment on that?

There is a spelling element in the beginning of the film. A song It was very deliberate. It depends on me whether I succeed or not, but I try to make movies like magic.

That sounds pretty crap to me, but yes, the movies I love are like mantras. It’s easy for me to say that to you.

The other aspect of your cinema that attracts me is the observation of the workplace, the feelings of ego and the feeling of bad behavior. I’ve always wondered how you find a way to balance that with performance and editing.

I’m glad you said that. Especially Berberine [Sound Studio]. I saw a lot of that as a workplace drama, most of it was about bullying and abuse and putting people down. Which you see a lot when you work in the office. I am very interested in the human ego.

Being a director yourself is something you have to deal with. You have to use it and control it somehow.

The film acknowledges Anna’s dangers when she is let go. In this movie, how I try to do these things is not to show where I am. It would be easier for me to get along with the artists, but it’s more interesting that I don’t take sides, and now it’s not where I stand, and I’m like a referee, and you see that often the characters behave well, but Badly. I try to position myself as a financier, they’re just doing their job, and I can imagine what it’s like for them. [Gwendoline Christie’s] Character, and deal with those horrible people who don’t take rejection well.

Gwendolyn Christie’s patron, who runs the institute, is eager to get her residents involved. And the wall that stands collectively. Fight on the use of flanger. 



The whole thing is just ridiculous, because Flanger is just a McGuffin. Her character is advising her to give up a bit, and Fatima’s character [Elle di Elle] He didn’t even know it until he was raised. Clearly, it’s not about the flanger, it’s about their ego. And they’re both guilty, you know, the element where some financiers just want to get their act together.

It takes a brave financier to keep notes. Leave only the artists. But on the contrary, Elle de Elle is being stubborn to be stubborn. As a filmmaker, it takes a lot of time for the financiers to say, “That’s a great idea, I’m going to use it” and the financiers have great ideas. They will definitely have bad ideas, that’s for sure.

With the casting of Makis Papadimitriou and Ariane Labeb, related to the Greek wired cinema movement of a few years ago, they are in the films Yorgos Lanthimos and Athina Rachel Tsangari. The FLUX GOURMET feels a little out of place. Are you a fan



Maxis I have seen two Greek films in which he has been, ChevalierWhich I really loved, and سنٹن. So this is really the person I wanted to ask to join this movie.

Arian, I saw it in things, but it was more social. He is a friend

Greek thing, yes, that’s because I’m half Greek. That is his honesty. Voiceover, especially here, should be in Greek. Relationships for me, now it’s going to be very personal, there’s something wrong with me forgetting my Greek. With Britain now going through Bridget, I’m really feeling the consequences.

I think I’ve always been to European actors, but more than that, I’ve done it with vengeance. Especially with the accent.

I know a lot of actors, I don’t want to get too involved in it because it’s her story, not mine, but with Fatima, that part is Romania, part Sudanese, part Hungarian, she is never at home at all. She is told that she cannot play English because she does not know English.

That’s the decent thing to do, and it should end there.

* Laughter * I am very lucky and very happy to meet him. I met him in this small theater in the middle of Transylvania for my first film. It had very little to do with it. I worked with him in another film because I loved working with him. And slowly, whenever she blows my mind, she is very brave and fearless.

I would love to work with it again and again!

I don’t remember if I didn’t ask about Gwendoline Christie’s [flamboyant] Wardrobe in the movie, and Millennial.

Yes, it was Giles Deacon who made the costumes, and it was Stephen Jones who made the hats. I didn’t know Milner’s term until a few years ago, I’m bad with organizations. It was too much for them. I didn’t have much of it. I will give some simple instructions, but other than that it was a collaboration between Giles, Deacon and Gwendolyn.

We were talking about movies [George] Like Franzo or movies Daughters of Darkness. The idea was that this is a very inflammatory character, especially as its name is not specifically. It’s a very formal name in the UK, John, and you’d expect someone to have a very foreign, double-barrel nickname or whatever, in its status and shape. Deacon and Jones and Gwendolyn came along.

It’s almost like a kind of “mime burlesque” thing is going on.

It’s ridiculous that you should say mime, because of the store visits [A recurring set of scenes in the film] Lots of videos from Marcel Marceau. And Gwendolyn’s “French.” We in the UK have this, the obsession with trying to make French words sound sophisticated, which always comes to the fore.

And the whole thing of food, the shackles that come with all these terms of food in French, which half of them, I don’t even know. I guess I googled “posh french food”. Especially in this post-Brexit world, but it’s another can of worms.

Thank you again for your time today, for me personally, watching your movies live with the audience, usually at festivals, has always been this way, because you never know What everyone is bringing to the table, when they will find humor, or keep some element or rhythm of each movie. They are all very specific and esoteric.

Thanks. Thanks. I’ve seen Flux with the audience twice, but under epidemic restrictions, so I really couldn’t figure it out. I hope that happens and the movie comes.

Phlox gourmet Will be released in theaters and digital / VOD on June 24.

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