One way of thinking about Peter Strickland’s works is as baubles of obsession. They are little spheres of influence, spheres of logic that marry fecun...
While the films of Peter Strickland are celebrated for their emulation of midcentury genre cinema, much of their structure – being their oscillation b...
Like the hole at the centre of a tape spool, Gilderoy occupies the absent fulcrum of an auditory mystery, a mystery made more mysterious by its transp...
One handy way to think about Peter Strickland’s cinematic work is through its pronounced, indeed insistent historical referentiality to the cinema of ...
Making sense of Peter Strickland’s lushly realised In Fabric (2018) is a peculiarly challenging task, one that not necessarily uses the brain, but rat...
"But round the castle there began to grow a hedge of thorns, which every year became higher, and at last grew close up round the castle and all over i...
Throughout folklore, the forest is a place beyond social convention, of lawlessness and disorientation. It is home to brigands and monsters, and yet a...
The Berberian Sound Studio – a labyrinthine post-production complex in 1970s Italy to which all the events of Berberian Sound Studio are restricted – ...
"One sensation of mind, one fabric in recollection of touch."
- Saleswoman Miss Luckmoore (Fatma Mohamed), waxing typically gnomic, in In Fabric (Pet...
The cinema screen, by its very construction, is a treacherous environment for sound. It is a plain, a horizon locked by hard borders, historically tet...
Design work is about worlds. When I do an LP campaign for a band, I see it as creating a world for the artist, for that particular album. This world a...
This wide-ranging conversation with Peter Strickland is centred around work, as theme of his films, and his theory and practice of it as filmmaker. Th...
