From Yellowjackets to Dahmer, cannibals have taken over our screens this year. Chelsea G Summers, author of A Certain Hunger, investigates the fascination.
’s people-eating is about class and climate collapse., Peter Greenaway’s 1989 cannibal masterpiece, serves up decadent revenge, as does Bryan Fuller’s glorioustakes So-Cal healthy living to task., the docuseries detailing actor Armie Hammer’s fall from grace, uses cannibalistic desire as shorthand for a family legacy of rapacious greed. You don’t need to peel back many layers to find meaning in cannibal media – it’s a text that’s rich with marbling.
In recent years, however, cannibalism has found new homes, new focuses, and new narrators, and these new voices are unapologetically, viscerally female. This woman-forward cannibal trend arguably begins with the 2016 release of Julia Ducournau’s, Karyn Kusama’s 2009 film, might be the great mother of the genre.
As women writers and directors breathe new life into tired cannibal clichés, we get a smaller, more intimate look at people-eating. This year’s– all bright colours, snappy dialogue, and meet-cutes – until it flips, and we glimpse its fattened, bloody underbelly. As Noa, played by Daisy Edgar-Jones, falls for Sebastian Stan’s smarmy Steve, every woman’s dating nightmare gets turned up to 11.
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