One of the most visually and aurally accomplished filmmakers currently working, writer/director Peter Strickland has enjoyed considerable critical acclaim and some limited arthouse and festival success, but hasn’t achieved much mainstream impact. He doesn't seem concerned by this, as his latest film, _In Fabric_, is easily the most obscure and unique work in his increasingly impressive body of work. The basic premise seems straightforward: an unsuspecting customer buys a dress that appears to be haunted (or perhaps inherently evil), unleashing chaos into her life. However, anyone familiar with Strickland's previous films knows that plot summaries fail to capture the richness within – for example, _Katalin Varga_ is a rape/revenge thriller, _Berberian Sound Studio_ is a tribute to giallo cinema, and _The Duke of Burgundy_ is a lesbian romance centered around S&M; each one takes unexpected turns not suggested by their basic descriptions. With _In Fabric_, while it does explore the transformative power of clothing and the positive psychological effects of wearing something that makes you feel good, Strickland is primarily interested in satirizing consumerism, particularly the irresistible lure of bargains, and the herd mentality fostered and exploited by retail corporations during Black Friday – an event that would surely lead aliens to judge us as intellectually underdeveloped. _In Fabric_'s biggest issue is its structure; it’s composed of two loosely connected storylines, which leads to some narrative slackness in the second half, and ultimately falls short of his best work, _The Duke of Burgundy_. Nevertheless, it's brilliantly acted, looks (and sounds) amazing, demonstrates an unparalleled dedication to the tactile aspects of filmmaking, is exceptionally funny, and will likely change how you view washing machines (or washing machine repairmen). Set in a London suburb at an unspecified time (though clearly intended to be the 1980s), the film follows

Source on TMDB