Respond to these rapid questions in our Super 30 quiz and we will tell you which Super 30 character you are. Play it now.
Dating has long been considered an undignified concept in the online world, with romance being sliced up into right and left swipes without regard for the feelings involved. You could even refer to it as a meat market—sure, it’s a cliched phrase, but what cliché isn’t based on some element of truth?
“Fresh,” the entertaining and bonkers satirical horror film from debut director Mimi Cave, is about a woman named Noa who knows everything about the losers on the bland menu of her endless app scrolls—so it’s understandable that she has lost her taste for kissing the frogs. In spite of this, our modern West Coaster, played with charisma by “Normal People” breakout Daisy Edgar-Jones, refuses to give up on her dreams, and she bravely puts herself out there, scarf-wearing douche-y dudes and all! It is through her sweet hopefulness that she passes on countless faux-cool profile photos during one of her mindless browsing sessions, and it is through this sweet hopefulness that she contacts someone who has a cute dog picture as his avatar. But what does she get in return for her inquisitiveness? Nothing, just a disgusting dick picture sent to you by your typical creeper.
Our heroine, Noa, is introduced to us in a pitch-perfect opening scene, which takes place on a horrible date with one of those aforesaid scarf-wearers. In addition to being a scrooge (“Bring cash,” he reminds Noa before the date even takes place), Chad chews his noodles while spewing all manner of stomach-churning venom. He dismisses Noa’s sweater-clad appearance, accusing her of not being interested in femininity “like the women of his parents’ generation.” “You would look great in a dress,” he says, mocking her. He makes a blatant racist slur against their waitress. His entitlement extends to snatching up all the leftovers, refusing to hold the door open for Noa (what happened to all that “parents’ generation” talk? ), and labeling her a “stick-up bitch” when his attempt at a kiss is not met with reciprocation. So, on the heels of this disastrous evening, can you really blame Noa for quickly falling for the grand gestures of Sebastian Stan’s traditional charmer Steve and falling into bed with him?
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You won’t be able to help but raise an eyebrow when this practical woman completely trusts a perfect stranger she only just met in a supermarket aisle by allowing him to whisk her away to a surprise weekend getaway to an unknown location. After all, it is the ever-appealing Stan we’re talking about here. Thanks to her witty, bisexual best friend Mollie (a terrific Jojo T. Gibbs), who appears to have given up on men completely, she is able to make much more informed decisions. Is there no social media presence? As someone who claims to be a plastic surgeon, you don’t even have an Instagram page, do you? All of these things raise red flags in Mollie’s eyes.
Super 30 Quiz
They’ll appear shady enough to the audience as well, thanks to Lauryn Kahn’s snappy script and Cave’s visual language, which, taken together, suggest just enough unease beneath Steve’s casual allure to keep the audience’s attention. The words “I don’t eat animals” from his lips will raise one or two red flags in the minds of those who are paying attention. For example, why not just say “I’m a vegetarian?” Other clues will provide hints about the unusual taste buds of this mystery man as well. However, it is not until the title card “Fresh” appears more than 30 minutes into the film that they will be revealed for all of their grotesqueness will they be revealed. While we’re on the subject of late-emerging title cards, if “Drive My Car” was a bridge too far for you in that department, wait until “Fresh” sneakily proclaims, “Hold my Old Fashioned!”
Also, you will find out which character are you in this Super 30 quiz.
While the unexpected twist that occurs from this point on is what makes “Fresh” so sickeningly entertaining, it’s nearly impossible to talk about this film without giving too much away about it. As a result, you should proceed at your own risk, knowing that your first-time viewing experience with the film will be irreparably harmed if you do so. Here’s how it works: As it turns out, Steve is a cold-blooded liar who also happens to be a cannibal, catering to the needs of his ridiculously wealthy human-flesh-eating clientele by peddling processed female meat to them. Noa is just the latest in a long line of victims who have fallen prey to his ruse. Something, however, appears to be different about his approach to her, as she quickly discovers through cell-to-cell inmate banter in the ruthless Bluebeard’s dungeon where she is held captive. He appears to be interested in Noa, and it is possible that she will be able to use her contagious smile and alluring femininity to outwit this serial killer.
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What I’m saying is that everything is a lot more serious than it actually is. Keep in mind that the film’s irresistibility is derived from the fact that it doesn’t take itself too seriously—all things considered, the film manages to stay light on its feet with its “Hostel” meets “Ex Machina” concept, largely avoiding overt, self-righteous preachiness in its moderately feminist tale where women’s bodies are treated as a perishable commodity. Cava and Pawel Pogorzelski (a frequent collaborator with Ari Aster) provide a visual feast of outlandishly gross but brightly lit visual tidbits of men savoring their pricey meals, keeping the mood light and wacky throughout their film. A large portion of the credit, however, must be attributed to Stan, who puts his whole heart and soul into an insane performance that is frequently hilarious, even when the actor’s mannerisms veer too heavily toward Christian Bale’s “American Psycho” persona on occasion. (“Restless Heart” by Peter Cetera and Animotion’s “Obsession” come to mind as two examples of fiendishly comical scenes accompanied by musical accompaniment.”) The film’s secret weapon is also played by Gibbs; while her character on the page is dangerously close to a stock “supportive black best friend,” Gibbs defies the stereotypes and claims Mollie as her own.
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Although the portrayal of race in “Fresh” leaves much to be desired, there is something endearing about a carelessly entitled white woman who unwittingly drags her savvy black friend into danger. The motivations of Charlotte Le Bon’s Ann are also left unexplored; as Steve’s wife (and possibly one of his former victims), this self-interested white traitor clearly feels no responsibility towards her own gender, an idea that Kahn’s script only vaguely teases before abandoning in the film’s untidy (and increasingly gory) final act. However, it’s possible that these are concerns for a more substantial film. In the meantime, allow the tongue-in-cheek “Fresh” to satiate your appetite for a generous helping of heartening sisterhood while simultaneously eliminating your cravings for a juicy burger, possibly for the rest of your life.
Today’s episode is available on Hulu.
For more personality quizzes check this: Instant Family Quiz.
