Peter Strickland is a British director I have time for, because of his second and third films, Berberian Sound Studio and The Duke Of Burgundy, playing with older genre forms (Italian horror movies, European erotica) and crafting art-house homages that almost have an academic, clinical bent. Strickland’s latest film, In Fabric (2018) is a strange horror comedy that can be summarised in two words: “haunted dress”. Set in a previous decade, the 70s or 80s, it’s about a department store that is run by odd characters who behave like they’re in a vampiric coven – presided by chief sales clerk, Miss Luckmore (Fatma Mohamed, genuinely hilarious and kooky). The film is invested in the details of old fashion store mannequins, magazines, and dresses. Into this world is a single mother named Shelia (Marianne Jean-Baptiste) who lives at home with an artist son Vince (Jaygann Ayeh). As a cashier at work, Shelia is consistently chastised and micro-managed by her bosses (Julian Barratt and Steve Oram). Answering lonely hearts letters and using a phone service, Shelia finds a renewed sense of confidence in a blood red dress she finds at this satanic, surreal department store. However, weird occurrences follow including a rash, vivid dreams and violent harbingers of doom. In Fabric was funnier than I expected, following in the tradition of odd British comedy, and the clash between classic horror genre signifiers and this generic department store. It also provides memorable but uncertain imagery and creates an off-kilter, dreamy tone reminiscent of David Lynch and Dario Argento. There are some lovely performances including Jean-Baptiste’s warm, believable work and even musician Barry Adamson playing a charming suitor. This will mystify some audience members and those seeking horror thrills. However, I really enjoyed In Fabric and would recommend it to those who have a taste for such strange, alluring fare. Features a great score by Cavern of Anti-Matter.
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