FRESH

US, 2022, 115 minutes, Colour.

Daisy Edgar-Jones, Sebastian Stan, JoJo T Gibbs, Andrea Bang, Charlotte Le Bon, Dayo Okeniyi.

Directed by Mimi Cave.

Fresh is, ultimately, a horror film about cannibalism. However, it is a mixture of subtle moments as well is as explicitly gory moments.

In fact, the first half hour is romantic comedy material, the central character, Noa (Daisy Edgar-Jones) is on the lookout for romance, relying on the support of her close friend, Molly (with whom she spars at a gym – rather handy later in the film). At a bar, she encounters a handsome man who chats with her, becomes friendly, then texts her and they go out together, coming home for a sexual encounter. He is charming and Noa is charmed. He is Steve (Sebastian Stan), inviting Noa to come away with him to his country house.

Perhaps some audiences who know that the film has been described as horror, may be to inclined to give up at this stage, not a horror indication in sight. However, there are moments when there are indications, intimations of suspicions.

Once the couple go to the country house, the film turns into a version of abduction, like The Collector. Noa is in quite an elaborate cell, chained, becoming more aware that she is not the only prisoner in the house.

But, this is where a reviewer has to be cautious, warning about Spoilers. For readers who are interested to see Fresh, don’t read any further but come back later to check the review.

For those who do not want to see a horror film, but are curious about the cannibalism – which is rather chic though somewhat Dark Web material – here are some comments.

Steve explains that he is a plastic surgeon. He does not explain that he is married with children – his wife looking as if she is the first who experienced his facial surgery and then reveals that she is probably his first cannibal victim. He starts with an amputation of a leg.

Steve has quite a business going, with quite some detail, close-up, of meat processing in his kitchen, then the packing, the labelling, the courier arriving to distribute the product, and a glimpse of a range of clients, male, who have a bizarre and warped gourmet taste.

With the abducted women, especially with Noa, despite her dislike and disgust for Steve seems to embody aspects of the Stockholm Syndrome, seeming to be charmed, to agree with her capture, even to sharing his modish table with him.

But, it will come to a head, Molly becoming concern for her absent friend, trying to get her bar tender associate who had met Noa and Steve to help (but, interestingly, he runs away, drives away rather, and does not help in the rescue).

It does get gory at the end, Steve confronted, his wife turning up, Molly having been captured but freed, and another of the women, all combining to vindicate themselves.

And, with a grim play on words, one might say that for horror films, Fresh is an acquired taste.

1. The title, general, its specific meaning?
2. The setting, the city, apartments, diners, clubs, offices, gyms? The countryside? The country mansion, the interiors, the cells, the kitchen, dining? The musical score?
3. The opening half hour, echoes of romantic comedy, indistinguishable from others? Yet intimations and indications for suspicion? The introduction to know, her life, style, romantic needs, friendships? The introduction to Steve, the encounter, the meetings, sexual encounter, promises? Noa and her hopes?
4. The transition to the theme, a variation on cannibalism, material for the Dark Web? The range of clients, men, affluence? Steve and his preparing the flesh, the women’s limbs, body parts, the focus on meat preparation, grinding, packaging, storage, the driver coming for the boxes, the deliveries? Audience reaction to this kind of imagination?
5. Noa, her age, experience, family background, her work, friendship with Molly, the opening and the dating, the man critical, then abusing her? Working the gym, friendship with Molly, discussions? The encounter with Steve, his hesitations, charm, the drinks, the texting, the later meeting, drinking, bonding, the sexual encounter, his invitation to the country, her accepting?
6. The importance of texting, Steve and Noa, Molly, going to the bar, Paul at the bar, the information, texting? (And the irony of his going to the rescue and then retreating hearing gunshots?)
7. The imprisonment, the cell, the layout, the bond, Noa and her shock, angry reaction, gradually settling down, indications of the Stockholm Syndrome, discussions, the women in the other cells, communications, seeing the message in the magazine? Her own treatment, the meat from her buttocks, the process? Wanting a shower, attacking Steve, his anger? Yet his infatuation with her? The meals, the meet, enticing her to eat, her reactions? Drinking? Steve showing her the shelves with the belongings and the photos of other victims?
8. Molly, continued concern, the false texting from Steve, going to Paul, the information, googling, getting Steve’s address, the visit to the house, the meeting with and, the nice housewife, Steve arriving, another name, attacking Molly, putting her in a cell?
9. Ann, plastic surgery, Steve’s background in plastic surgery, her missing a leg? Her finally going to the house, with the driver, finding Steve, pursuing Noa, the fight, the keys in her neck, Molly killing her?
10. The final dinner, the manner of seduction, Steve’s reaction, the sexual encounter, removing the bond, the grim biting of Steve, the blood, her escape, freeing Penny, finding Molly, the escape, pursued by Steve, the grim fight with him? Noa, finally shooting him?
11. The escape from the house, the pursuit, Paul arriving, leaving? The pursuit by Penny, the fight with her?
12. The effect of the long opening, lulling audience suspicions, the effect of suggestion rather than explicit gory scenes in the main part of the film, audiences identifying with the situation and characters, leaving the gore and grim fights until the end?