FANTASIA 2020: Yummy
FANTASIA
Lars Damoiseaux's Yummy is a mixture between the comical wit of Edgar Wright's Shaun of the Dead and the terrifying social commentary on George A. Romero's Night of the Living Dead series, in a terrific, effective genre piece.
The balance between wit and genre is brilliantly crafted here by Damoiseaux. Convicting on both levels aforementioned, the greatest issue that Yummy presents is which filmmaking elements are the strongest or most impressive. The comedic nature, while undoubtedly outlandish in its presentation, is never overbearing or excessively dumbfounded. Its approach is continuously relative to the development of the circumstance and plot present at the time. This is implemented with organic techniques and, in a strange way, the natural feel for the audience is far more endearing and engaging.
The horror, however, is the most fun to behold. For a film that is set in a plastic surgery clinic with a proceeding zombie outbreak, it should offer an inciteful preface into what to expect, and Lars Damoiseaux's Yummy does not disappoint. The genre is showcased in diverse and engaging ways which is not only effective but, thankfully, is never taken overly serious to the point where it becomes derivative and self-conscious.
That being said, the film is not just about comedic horror. Damoiseaux and co-writer, Eveline Hagenbeek take a look, albeit with a subtle approach, at toxic masculinity, female empowerment and the acceptance of one's body. Granted, it does sound as though a film of this tone and genre would only use such themes on a surface-level depth, but more surprising is that the themes are quite integral to the overall feature and how it hits harder than ever with its sadistic but contextually appropriate finale.
The filmmaking prowess is also well produced. The production design by Silke de Rycke is cold and precisely calculated to personify the distant and gothic entity that a real-life clinic would entail. The cinematography by Daan Nieuwenhuijs is crowded and claustrophobic. There isa multitude of inescapable close-ups paired with the blue chromatic colour grading. The overall aesthetic is arching back to the genre first and foremost.
Last but not least, the performances should be noted in all their wonderful glory. Undoubtedly, leading actress, Maaike Neuville as Allison is the major highlight here. Neuville provides tremendous charisma and engagement value with the construction of her character, committing every drop into this interesting and dynamic performance with a result worthy of admission alone. However, that being said, Lars Damoiseaux juggles a variety of characters and performances here, all with an engaging level of depth and commitment of care. This results in a film full to the brim, engulfing the viewer with a compelling story in which they’re laughing manically one minute and being scared shitless the next.
