As the camera pans through a steel blue dining room, a small group of tech bros, celebrities, political power brokers and food geeks walk to their tables, past the kitchen where a team of uniformed chefs work with almost military precision. Diners take their seats as nitrogen gas is used to turn milk into an iced powder, and hemispheres of small pickled cucumber watermelon are delicately coated on a dark stone slab with a pair of tongs. Pictures are forbidden, because the chef believes that “the beauty of his creations lies in their ephemeral nature.” When the chef finally enters the room, the energy changes completely as dots of cucumber and milk ice come together to create a fun douche. Dinner is served, and at the very exclusive Hawthorne, that’s a terrifying prospect.
Hawthorne is the restaurant in the center food menuOne of the fall’s most awaited horror movies, it is set to hit theaters on November 17. Starring Ralph Fiennes, Anya Taylor-Joy, and John Leguizamo, it tracks a group of people as they travel to a secluded island for a rare meal. As we learned in the trailer’s opening seconds, dinner at Hawthorne costs $1,250 per person, and the space only seats 12 on its night service. Famous for encapsulated modernist cuisine, the kind that includes many gels, foams, and fermentations, its simple, industrial interior aesthetics evoke the realistic temples of modern cuisine, such as geranium and noma. Fiennes orders his kitchen with terrifying precision, and the sudden clapping of his hand is both a surprise and a sign that the next course is about to arrive.
As you might expect, these guests end up being treated a lot worse than a fancy meal while trying to “play the game,” or figuring out the theme of tonight’s dinner – which seems to come out of the night alive. Directed by Mark Miloud, food menu He blends a linguistic critique of capitalism, the modern restaurant industry and the forces that drive it, and unbridled terror, all while questioning some of humankind’s most basic fears. In the end, the movie poses a very terrifying question: What if, when you walked out to that expensive dinner, your most insecurities, perhaps even your actual body, were on the menu?
Director Luca Guadagnino is also scheduled to be released in November bones and everything, in which Timothée Chalamet and Taylor Russell play a young couple traveling across America who find themselves in the midst of a passionate love affair inextricably linked with their voracious desire to eat others. Described as a “cannibal love story,” the thriller trailer includes familiar horror movie snippets of frightening cries and shots of people running from a menace off camera, most likely our two little love birds. With stars like Taylor-Joy, Fiennes, and Chalamet on board, these two films represent a new height in the decades-old quest to use eating to scare viewers.
In the movie 1931 DraculaOne of Bram Stoker’s most famous works, the vampire celebrates the blood of his victims. One of the most common villains, zombies, eats brains, as does Hannibal Lecter, the sociopathic cannibal of Silence of the Lambs. It stands to reason that films that seek to intimidate and irritate us, to inspire us with horror and annoyance, would nullify the simplest of human fears (to kill, to devour). But horror is also known to make us feel disoriented as we explore our fears: in film, perhaps there is no genre more preoccupied with forcing us to confront social taboos and exploring the arbitrary nature of social norms than horror.
It is not surprising, then, that this happened in food menuOne of the best restaurants in the world is a place of terror. The real-life horrors of working in a fine dining kitchen, ranging from horrific bodily injury to me sexual harassment to me psychological abuseWell documented and explored in haunting detail in the film. For patrons, these ultra-exclusive venues come with a set of insider rules and unspoken rules of conduct that make even the most socially skilled — and wealthy — among us feel uncomfortable.
Adam Lowenstein, Professor of English and Film Studies at the University of Pittsburgh and author of Horror movie and others. “I think this is a fairly universal fear, and one that operates in many different contexts.”
Lowenstein points to a long-standing tradition in horror films of exploring questions of class, privilege, and consumption. In movies like George Romero’s legendary zombie flick The dawn of the deadIndiscriminate and violent undead brain eating is closely related to American culture’s obsession with mass consumption regardless of the human cost. As Lowenstein notes, Romero even modified the famous quote by philosopher Jean-Jacques Rousseau about eating the rich in the film’s sentence: “When people have no more food, they will eat the rich” became “When there is no room in Hell, the dead walk the earth.”
“Eating food is so central to the human experience and survival that when food is distributed unfairly, you begin to get to the core issues about society,” Lowenstein says. “I think horror is very much compatible with that, and if humans can’t figure out a way to be fair to one another, then horror will seek to equalize this dynamic, and it won’t do so in beautiful, digestible ways.” Eating, of course, is mandatory, but riding Plane, then the boat to go spend thousands of dollars in a restaurant – as in food menu – It is an excessive waste, ripe for this kind of criticism.
Beyond the subtext, it is objectively true that the act of eating is, in many ways, very terrifying. When we eat, we scrape animal meat away from the bones with knives, and then tear it with our teeth. Fortunately we pluck oysters, octopuses, and sea urchins from the sea and eat them alive, and pay for the privilege handsomely. We feed on force-fed goose livers. (Vegetarians were, of course, excluded, but there have been thousands of cases of foodborne illness linked to products contaminated with bacteria in their faeces.) Intestines, he says. “But it is always looking for a basic engagement and confrontation with the audience, and eating has proven to be a very effective way to do that. It encapsulates the core identity of the genre.”
Often that means watching onscreen characters eat things our culture has collectively decided were unacceptable: blood, human flesh, vomit, and feces. In the 2002 French horror film in my skin, the hero Esther, a successful career lady, attends a charming dinner with her boss and an important client, and begins to hallucinate that her arm has been separated from her body. To prove she isn’t, she unobtrusively sticks a thorn in her tip, and ends up – spoiler alert – literally devouring herself alive in an attempt to find some kind of emotional satiation. bones and everything, based on the novel by Camille de Angelis, takes a completely different path. In this exploration of raw sexuality and power, protagonist Marine Snowy, portrayed by Taylor Russell, is a young woman who turns her forbidden consumer desires outward, and eats the flesh of those who love her.
In the popular horror movie 2019 Midsmar, director Ari Aster drives home the natural horror of pagan worship in the movie when they inadvertently convince a character to drink menstrual blood and eat pubic hair in a stomach-churning love spell. According to Aster, The images in these scenes are actually rooted in his search for Scandinavian history and folkloreAnd that’s partly what makes them terrifying. It can happen to you that you accidentally ingest another person’s bodily fluids in real life. Regardless of what you think are your deepest and blackest fears, almost no one among us wants to be forced — or tricked — into eating something we find disgusting. Beyond the immediate disgust that consuming something as taboo as human brains or menstrual blood elicits, there’s also something uniquely frightening about being forced to eat anything against your will: it’s a violation of your bodily autonomy, and it’s a near-universal fear. Perhaps the worst thing is murder, the eventual revocation of a person’s agency.
As the genre continues to grapple with societal issues such as climate change and income inequality, the role of food in horror remains as prominent as ever. 2022 film David Cronenberg future crimes It centers around a world where humans are physically adapting to a post-apocalyptic future not too far away where the world is so polluted that their organs actually evolve to feed on toxic plastics and other toxins in order to survive. Last few years Eid It takes a different route, using the context of a really terrible dinner party to explore human impact on the natural environment. in the coming months, food menu And the bones and everything It will present a lot of unique opportunities to think about how obvious scary food and eating are, it all depends on your personal gang.
Don Caminos Is a visual vaquero providing editorial illustration from Mexico City.
Edited by Layla Bernstein