- Garrett Wilkins2026年6月5日There is a specific brand of British cinema that excels at turning the completely mundane into something deeply unsettling, and this film captures a dreary, late-seventies UK suburbia perfectly. The story itself is delightfully bizarre, centering on a cursed, blood-red dress that wreaks psychological havoc on anyone who brings it home. Of course, a movie built entirely around a piece of killer clothing inherently has a hard ceiling on how high it can score, but when you judge it based on that wild premise, you can still find things to appreciate about how well it is made. From a traditional perspective, the script heavily relies on extreme surrealist shock value and eccentric, avant-garde imagery that will alienate a lot of viewers. While the main focus is a dark satire about the literal sickness of modern consumerism and greed, it also takes a very sharp, secondary swipe at the transactional exhaustion of modern dating, framing the search for romance as just another shallow form of window-shopping. Unfortunately, the execution ultimately gets lost in its own oddity. The narrative takes some highly unique, unconventional risks with its structure, but the pacing doesn't quite land; instead of maintaining a cohesive momentum, the plot becomes disjointed, making the latter half feel fractured and repetitive before scrambling to tie its ideas together at the end. Rather than relying on a single central character to carry the weight, the film works best when focusing on how ordinary, working-class people interact with the absurdity of the premise. Watching characters treat a piece of clothing with total, deadly seriousness provides some solid dark comedy, and Fatma Mohamed-acting as Strickland's ultimate creative muse-handles the bizarre, overly poetic monologues of the department store clerk with a chilling intensity. Ultimately, though, a strong ensemble and a very distinct visual style can't salvage a script that stretches its singular concept way too thin, even when keeping the movie's natural limits in mind.
- Anthony Morris2025年11月23日I did not understand this films themes. Something about consumerism and fashion or whatever, but it was -weird- and I liked it
- cultfilmliker2025年5月25日Sleek, outlandish entertainment! Bold and daring vision! It’s like the concept of the film Rubber but good! Love too get these little reminders of why horror is my favorite genre of film Wonderful visuals. Entrancing. Loved the experimental direction and sound design! Perfect music! Love and hate the creepy woman’s dialogue. She’s like the opposite of Kevin Malone from The Office Obviously Suspiria comparisons but I also see The Lords of Salem and other Zombie flicks Gets WILDLY disturbing out of nowhere ffs
织物花絮
织物于2018年12月6日发布。
织物由Peter Strickland执导。
织物的时长为1小时 57分钟。
织物由Andrew Starke制作。
一位刚与丈夫分居的孤独女子造访伦敦一家迷人的百货商店，寻找一件能改变她人生的连衣裙。她试穿了一件完美合身、如动脉般鲜红的长袍——这件裙子将释放出恶毒的诅咒和不可阻挡的邪恶，威胁着每一个与之接触的人。[A24]
织物中的关键角色有Sheila（Marianne Jean-Baptiste）, Jill（Sidse Babett Knudsen）, Stash（Julian Barratt）。
织物的评级为R。
织物是一部恐怖, 悬疑, 惊悚电影。
织物的观众评分为5.2（满分10分）。
织物的票房收入为US$20万。