ASMR vibes and weird culinary themes pervaded this movie from start to finish - or rather, prep to performance. It was an interesting, though at times unnerving, exploration of food and our connection to it as humans.
As both director and writer, Peter Strickland did amazing work on this production. Tim Sidell's cinematography was crisp. Matyas Fekete's editing was quite good. Saffron Cullane's costume design was to-the-point. Hair-makeup, musical scoring, sound effects, and production design were all quite good.
Jan Stevens, played by Gwendoline Christie, was outstanding. Dr. Glock, played by Richard Bremmer, was great. Billy Rubin, played by Asa Butterfield, was good. Elle di Elle, played by Fatma Mohamed, was amazing. Stones, played by Makis Papadimitriou, was great. Lamina Propria, played by Ariane Labed, was quite good.
The concept of 'Sonic Catering' that was used in the movie was intriguing, to say the least. They weren't shy to expose the sickening side of things either. Eccentric sequences and disgusting ones together served to remind me that being human is not always perfect, let alone blemish-free.
As "Flux Gourmet" progressed it became, in my opinion, a curious, captivating, and diabolically under-rated title. They included visceral and explicit themes as well - not too out of place in a script like this. Catering and craziness mingled and boiled over into an eclectic script that boasted an engaging directorial spin rife with subtext.
I went into the movie during a spot of free time and left with a strange and misplaced need to know more. This story had a way with my senses that can best be called provocative. To say I had mixed feelings about "Flux Gourmet" would be putting it mildly. That, in itself, was a testament to its 'power of film'.
Tampilkan lebih banyak 
