It feels weird that they should make this a submarine movie, but thinking about it, it’s the only way to make this work.
It’s weird, before I write these I’ll watch all of the episodes I’m covering twice. Once spread out, over a few days or so, so that I can pay attention and get the experience of actually watching for the first time, and the second will be running through the four and taking notes right before I actually get to throwing my thoughts down. Usually my recollection is pretty good, this time between the two my brain invented a bunch of images that I guess never existed.
There’s this thing that happens late in this movie, after our lead has been quite thoroughly broken down, where he’s sitting on a bed trying to come to terms with his situation.
I’ve lost count of the amount of times that I’ve said it, ‘I can be saved.’ I hope it’s human nature, why so many of us turn to religion, that need to be redeemed.
I have self destructive impulses. I know that every day being a step towards death doesn’t mean I should choose to hurtle myself down that path with all the intensity I can muster, but living any other way doesn’t make sense to me.
The opening shots make it clear, here’s a film where the constant, predictable actions of a computer have superseded reality. The digital, with it’s rules and frameworks, the fact that everything has to be somewhere and commanded and traceable makes it a damn sight more real than the mess that we live in.
Studying acting at university I had this friend who was one of the most committed physical performers I’ve ever seen. It was incredible, but also made him a terrible actor because you could see every ounce of effort that he was putting in.
I didn’t get the chance to interview Peter Strickland, but after a recent pre-release screening of In Fabric I was able to ask him what influenced the film’s sound design aesthetic. ‘Well,’ he answered, ‘I’d been watching a lot of those Autonomous Sensory Meridian Response videos — I think they call them ASMR — and really wanted to make one of my own.’
I rather like it when things are this juvenile. I guess it’s the first of his films where he’s not a credited writer (though undoubtedly he had some hand in it). Mann nudges it towards his own space by making everything a half point more extreme than it quite needed to be.
Over the course of the running time I probably thought of a good half dozen quips that could come here. I’ve since forgotten them all.