Over the course of only three feature-length films, writer and director Peter Strickland has established himself as a master of suspense, sound, atmosphere, and pacing. Influenced by Italian giallo, softcore erotic, ’60s psychedelia, and groovy, mondo exotic outre cinema, Strickland’s really one of a compared to any of his contemporaries.

His self-financed revenge film “Katalin Varga” featured a heightened soundscape that ranged from ominous wind, to crickets, to lonesome goat bells. He followed ‘Varga’ with “Berberian Sound Studio,” a terrifying film about a sound engineer who slowly turns insane working for an Italian horror studio. The English expatriate’s next film, “The Duke of Burgundy,” is perhaps his most accomplished. The erotic LGBTQ romance film is an exercise in excavating the beauty of humanity in even the most bizarre and unlikely moments. Strickland’s latest film, “In Fabric,” debuted at the Toronto International Film Festival (TIFF) last year and it’s his most recent foray into the horror genre while leveraging his various fetishistic and sensualist tendencies. By all accounts, our review included, “In Fabric,” is a kind of British kitchen sink riff mixed with phantasmagorical horror, and wild absurdist kink; it sounds bat shit crazy in the best way possible.

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