In Fabric

Art for the sake of art...Not much substance... It' like a mixture of"1984" with "Rubber",with a try to imitate David Lynch,Dario Argento and Cronenberg all at once...The result is very artful,but fails to really engage and excite,like the films of abovementioned Masters...All in all 5 stars for a good visuals,acting,music. One time watch,doesn't go into the collection...

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source: In Fabric

A weird and wonderful retro ride with sights and sounds that will amaze, amuse and envelop you. The dialogue is very witty and quirky and made me chuckle and laugh. The bank manager meetings and the date nights were very funny indeed. The dress store was bizarre and hilarious and not entirely dissimilar to a department store I used to work in on Regent Street. Some of the sex-related scenes were a bit much for me, on the seedy side of grotesque. Overall though I really enjoyed the adventure and how the film seemed to take one to another dimension altogether.

As for me the movie is too boring, it looks very old because of applied visual and musical effects and after few first minutes of watching it becomes clear that movie is not interesting and there will not be twists that will make that better. So, I would not recommend to watch this movie unless you love old-scool horrors and strange comedies.

I've often discussed the difference between grindhouse and arthouse. That line is quite easy to cross and hard to define at the same time. The films of Peter Strickland are great examples of movies that live between that division. From the revenge film Katalin Varga and the giallo-exploring Berberian Sound Studio to the Jess Franco homage The Duke of Burgundy, he's taken movie forms that would normally be video nasties in his nome country and made them palatable to a more refined mindset. Sheila Woodchapel (Marianne Jean-Baptiste, TV's Without A Trace) is a recently divorced woman whose life is bleak to say the very least. Her son still takes his father's side and has a new femme fatale girlfriend (Gwendoline Christine, who played Brienne of Tarth on Game of Thrones and Captain Phasma in the recent Star Wars movies) who has taken over their home. At work, her bosses Stash (Julian Barratt from The Mighty Boosh) and Clive constantly asks her to document all her time, how she shakes hands and even how she speaks to her boss's mistress. And her attempts at finding love are boring at best. That all changes when she visits Dentley and Soper's to buy a dress from Miss Luckmoore. Of course, that dress soon begins to make her life even worse, giving her a rash and nearly tearing off her hand when she attempts to wash it. Every time the dress is nearly destroyed, it repairs itself. And then it tries to kill Gwen as she has sex. Finally, as Sheila tries to bring the dress to a charity shop, she's killed when a mannequin appears in the middle of the road, causing her to crash. The dress finds its way to washing machine repairman Reg Speaks, who is forced to wear it by his friends. His life is also a nightmare, as he's in a loveless engagement with Babs and his boss delights in abusing him. Also - for some reason - people love to hear him drone on about washing machine issues, as it makes them go into trances. It all ends with Reg being fired and then hypnotized by ads for the store's sale and suffocating from a gas leak. At the very same time, Babs tries to get another dress and realizes that the store is where her dream of getting thinner and dying occurred. The dress catches fire as the store turns into a riot of shoppers. Land and a mannequin escape into a dumbwaiter, where a dead model, Sheila, Reg, and Babs are all shown sewing their own dresses from their blood, a hell of their own making, while other spaces are shown for more souls. Above this all, a fireman walks through the ruined store only to find the dress has emerged unscathed. This film feels inspired by the post-giallo supernatural horrors of Argento. But while those strange Italian horrors seem to be able to exist within the absolute film excuse that nothing has to make sense, the shift between story one and two here is so abrupt that it feels as if we're watching two different films with the same story. My wife had been anxiously awaiting this film and to say that she was disappointed is an understatement. I'm much more forgiving of movies that want to be important art with something to say while she wants more narrative cohesion. She must love me, because she sat through all of El Topo in a theater, an act which she has later complained of numerous times. Back to how this all opened. If you go into this hoping for art, you're going to have to wallow in the miasma of exploitation. And if you want a thrill, you'll find yourself dealing with an examination of London consumerism in the mid-70's. I don't know if this movie can truly satisfy either audience properly. But hey - it's another example of A24 knowing exactly how to cut a trailer that makes people want to see a movie that they otherwise probably would have never watched in the first place.

I enjoyed Berberian Sound Studio as a technical tribute to Giallo, but felt this movie resonated with a joy for the genre. From the cinematography to the wittiness of some of the dialogue to the Lynchian creepers to the hypnotic potential of appliance repair, In Fabric was drenched in a loving weirdness. Definitely the top of SIFF 2019.

Mommy, Mommy, I don't like it - it doesn't make any sense ! Its not got a plot like really good films like Mortal Kombat or the Avengers ! It looks strange, like those old films old people used to watch before they made good films, and I DON'T UNDERSTAND IT, so it must be rubbish. The people have funny accents like they come from Europe or somewhere not in America - as if any other country makes films! I like good horror films with lots of jumps and chasing teenagers and ghosts, but this doesn't have any. Theres some sex stuff in it with hairs and things which is just GROSS, i can't think why they want to be disturbing like that. All the good reviews on here are fake, because no one likes films they actually have to think about, so they must all be lying relatives of the director. And anyway, what is an Argento anyway? Bunuel? Robert Aickman ? Thomas Ligotti ? Cocteau ?Just what do they mean by oneiric ? Ive wasted two hours of my time fast forwarding through this in ten minutes and im so angry i had to write this review. How dare someone make a film i don't like. Mommy, whats a pseudo- intellectual ?