Stones (Makis Papadimitriou) has a number of issues in filmmaker Peter Strickland’s latest film FLUX GOURMET. You see, as the person assigned to document the new resident artists at an institute devoted to culinary and alimentary performance, Stones suffers from indigestion and flatulence. Meanwhile, the new group led by Elle Di Elle (Fatma Mohamed) that sonically explores the creation of food is struggling to land on a name That’s not to mention that Elle bristles at any direction from the institute’s director Jan Stevens (Gwendoline Christie). Abstract, absurd, and at times hilarious, writer-director Strickland again forms a world of abstruse conflicts to explore the deeper questions behind his subjects. The dish served is another delicious feast of the bizarre from Strickland that will reinforce his fanbase and perhaps win a few more admirers.

While Stones follows the new culinary artists around the hallowed grounds of the institute attempting to hide his bodily functions, he seeks the help of resident physician Dr. Glock (Richard Bremmer). The cantankerous doctor hilariously dismisses any concerns with abrasive retorts and sends his patient on his way. Meanwhile, Elle Di Elle has her own struggles as she battles with her two bandmates, Billy (Asa Butterfield) and Lamina (Ariane Labed). Lamina is Elle’s former lover who calls out each and every game Elle attempts to play while Billy aimlessly follows either his appetite or libido. As these various power struggles play out, it becomes clear that WHAT they are pursuing doesn’t matter as much as how they are going about getting it. Jan Stevens wants control, Elle and her team want artistic freedom, Stones wants his health.

Strickland’s cinematic trademarks are all here from impeccable production values to his fetishization of sound. As the nameless collective struggles to push the boundaries of gastro-audio creation sound designer Tim Harrison leads an army of mixers and foley artists in catching every last pop and gurgle of a simmering pot of consomme or the abrasive shreds of electronic distortion. One particular plot development includes a debate over a lost flanger.  Capturing everything visually, cinematographer Tim Sidell uses vibrant colors and clean framing to enforce both the artifice of higher understanding and the absurdity of art. Then of course we have to mention the gag-worthy costumes by Saffron Cullane who drapes the draconian artists in black robes while adorning the institute director in outlandish couture.

We can’t forget to mention the fine performances all around, most notably Strickland veteran Mohamed as the tortured and arrogant Elle. She easily offers the bravest performance and the most savage as she manipulates her underlings while struggling to create. Papadimitriou is our anchor through the madhouse with his longsuffering Stones. Still, to me, Bremmer‘s Dr. Glock stole every scene he was a part. Misogynistic and patronizing his barbed comments and retorts slay.

Still, though, all of this is produced through the incomparable vision of Strickland. His approach to the pretense we all buy into is to heighten its silliness while giving it the reverence we would everyday concerns. His take on the world around us is a unique prism of silliness that refracts a true image of the futile struggles we all ultimately face. Visually striking, aurally sumptuous, and intellectually comedic, FLUX GOURMET is another bizarro visit to the world inside Peter Strickland’s mind.

7 Out of 10