Feed (2005) Film Review – Can You Stomach It?

Posted on by Jim Cox

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Feed is a 2005 Australian body horror thriller written by Kieran Galvin, and directed by Brett Leonard. The film is based on an idea by Patrick Thompson, and Alex O’Loughlin, the film’s protagonist and antagonist, respectively.

A veteran of cyberporn investigations, Australian cop Philip Jackson, is no stranger to the dangerous side of sexual fetishes. He may have found his sickest case yet when he discovers a sinister side to an American website devoted to fat-admiring men and obese women called “feeders” and “gainers.” Could the man behind it all be force-feeding missing women to death?

Beginning with a reference to Armin Meiwes, a German computer repair technician who, in 2001, was arrested and sentenced to life imprisonment for the murder and consumption of Bernd-Jürgen Armando Brandes, a willing participant in the cannibalization of his body by Armin; Feed certainly prepares its audience for the grisly direction of its narrative. The exploration of the internet in the time when social media was becoming popularised and finding your niche fetishistic tastes was more complex than a simple cursory browse through a search engine, the film explores the, now somewhat defunct, culture of message boards and chatrooms, which often led to much darker parts of the internet.

Taking a relatively deep dive into Feederism, the film features a large number of real photos of the fetishism scene–all of whom suffer from class III obesity. However, the film never takes a derogative view of these women’s weight or kink–handling the subject with a fair amount of decorum. Moreover, as adipophilia and feederism aren’t against the law, the introduction of snuff is a riveting means to introduce both reasoning for cybercrime investigation along with a sense of urgency to the narrative.

Taking a relatively stylised approach to its cinematography, Feed’s visuals are an assorted gallimaufry of different techniques. Featuring a constantly altering, highly saturated colour scheme, some scenes are bathed in an overly-cold, unnatural blue hue. While on the opposite end of the scale, others are exceedingly warm with intense yellows and oranges–interchanging this with seemingly no consistency. Additionally, the cuts between camera angles are used liberally (to put it lightly). Interchanging between the standard establishing and two close-up angles at breakneck speed, the film feels artificially kinetic throughout the first and second acts. While this approach works well in the final act, the constant, unnecessary cuts can be dizzying in their implementation.

Regardless of this, some interesting techniques are executed well. The use of different types of transitions between scenes is a good way to signify a change in the scene (especially with all the hard cuts between camera angles). Furthermore, implementing side-by-side shots of our protagonist and antagonist is a fantastic means of insinuating their similarities, gradually solidifying them as the film progresses.

Despite Feed featuring body horror elements, the film is fairly light in over-the-top special effects. However, what effects are implemented are an overly impressive display of practical prosthetics. The incredibly realistic body suit work by actress Gabby Millgate is an astounding depiction of obesity. Consisting of a full-body latex suit created by an exceedingly talented team of prosthetic makeup artists, the effect is phenomenally realistic in its presentation.

Featuring some solid performances from Feed’s main cast, the protagonist and antagonist, played by Patrick Thompson and Alex O’Loughlin, deliver fantastic interpretations of the opposite sides of the same coin–both situated at opposite sides of the moral scale. Patrick’s performance as the high-strung, grizzled cop who has seen the darkest side of humanity is compelling, whereas Alex provides a personable yet dissident portrayal of a sociopath.

A compelling plunge into the abyss of obsessive internet groups and social taboos, Feed is a wild ride into the darkest depths of humanity and a distinct entry into the crime thriller/body horror genre. While its visual style is erratic at times, it hardly detracts from the engaging narrative, captivating performances, and astounding prosthetics prevalent throughout–sure to leave you hungry for more.

Feed (2005) is available to purchase from Unearthed Films’ website here.

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