RICHARD SAKER/REX
Show Hide image

Electric dreams

How the “hippie tycoon” Dale Vince – a pioneer of renewable energy – plans to turn football and our motorways green.

In the hills above the tiny Cotswolds town of Nailsworth, on a road named Another Way, is an unusual football stadium. As you enter the New Lawn ground, the first thing you see is a pair of Nissan Leaf electric cars plugged into charging stations; on the reception counter are flyers for the Vegan Society. This is the world’s only meat-and-dairy-free football club, where players and fans enjoy Quorn fajitas, veggie burgers, cheeseless pizza and tea with soya milk.

Look out from the main terrace at the Forest Green Rovers club and you’ll see more curious sights. An array of 170 solar panels is positioned atop the south stand. Behind a corner flag is a large tank for storing water that has been recycled from beneath the organic pitch, which is fertilised with seaweed. Even the advertising banners stand out: the most prominent bears the white skull-and-crossbones logo of Sea Shepherd, the marine conservation charity.

It might all seem quaint and worthy, the vanity project of a hippie tycoon. But Forest Green Rovers are a serious club. The team of full-time professionals sits in the playoff places near the top of the National League, the fifth tier of English football. If they keep that up, they stand a good chance of winning promotion to League Two, for the first time in the club’s 127-year history. But the longer-term goal is to make it all the way to the Championship, just a step from the
Premier League.

That is why Forest Green Rovers are moving ahead with plans for an extraordinary new stadium near Stroud, in Gloucestershire. Designed by Zaha Hadid Architects, the firm that built the London Aquatics Centre for the 2012 Olympics, it will seat 5,000 people, with a capacity to expand to twice that. And it will be constructed almost entirely of wood. “That’s never been done before, anywhere,” said Dale Vince, who rescued the club from near bankruptcy in 2010 and is now its chairman. “It will be the greenest stadium in the world.”

We met in early November at the Stroud headquarters of Ecotricity, the renewable energy firm he founded in 1995, which runs 19 windfarms and two solar parks. Vince, who is 55, is not your typical corporate boss. He was wearing brown boots, ripped jeans and a black T-shirt. His hair is shaved on the sides, with a small ponytail on top, and his sideburns are long. A silver ring hangs from the tragus of his left ear.

Vince’s office is scantily furnished with two beanbags, a standing desk, a small, round table in the middle and a large, green Union Jack on the wall. If you didn’t read the newspapers, which drew attention to his wealth last summer while covering a legal battle with his ex-wife, you would have no idea he was worth more than £100m.

It is a fortune that has allowed him to spread his green dreams into areas beyond football. Before the 2015 general election, Vince gave £250,000 to Labour, £50,000 to the Liberal Democrats and £20,000 to the campaign of the Green MP, Caroline Lucas. But he may yet make the biggest difference with transport. Ecotricity has built what it calls the Electric Highway, a network of 296 charging points at motorway service stations which has made it possible to drive from Land’s End to John o’Groats in an electric car. Vince says he is trying to accelerate the demise of the internal combustion engine. “Our government is not the most ambitious on green issues but by 2030 it wants all new cars to be electric or hybrids. We think it could happen sooner.”

 

 

***

 

Vince grew up in Great Yarmouth, Norfolk, in a two-bedroomed ­bungalow. His father was a self-employed lorry driver who worked hard yet worried about being able to pay the bills. “That’s why I decided to drop out and live like a hippie,” Vince wrote in the Daily Telegraph in 2009. “I didn’t want a career or a mortgage.”

He left his local grammar school at 15 and four years later became a New Age traveller: his first home was an old ambulance. He toured Britain and Europe, and along the way he got married, painted, learned to bake bread – and had run-ins with the police. He was part of the Peace Convoy, a confederation of anti-authoritarian travellers, and in summer 1985 he took part in the “Battle of the Beanfield”, when police trying to prevent a free festival at Stonehenge clashed with protesters. Some travellers were beaten and vehicles were smashed.

Vince, a tinkerer, built a small windmill on top of his van to power the lights. In the early 1990s, while living on a hill in Gloucestershire in a former army truck, he had an epiphany: what if he could harness the wind on a much bigger scale and change the energy industry? He decided to “drop back in” to society to set up Ecotricity, which claims to be the world’s first green energy firm. The model was simple: the company would produce as much renewable electricity as it could, buy in any extra fossil-fuelled power it needed, and use customer revenues to construct more windfarms until the operation was fully green.

“I built my first windmill in ’96, after a five-year battle with all-comers – Nimbys, bigots, planners, big power companies, you name it – and went to Kyoto in ’97,” Vince wrote on his blog, Zero Carbonista. “The rest is just more history.”

That windmill is still turning: its blades can be seen from the top of a stand at the New Lawn. And like the football club, which has doubled its home attendance in six years, Ecotricity is thriving. It has nearly 200,000 customers. Accounts filed at Companies House show turnover for the year ending April 2016 of £126m, up from £109m; pre-tax profit was £6.7m. Vince is the sole shareholder but the company does not pay dividends and he draws a salary of less than £150,000. The converted 18th-century fort where he lives with his second wife and their son is worth more than £2m, but he says he is not motivated by money.

Despite Ecotricity’s success, the firm faces several challenges, including the implications of Brexit, which Vince opposed. “We have not left [the EU] yet, but the pound has slumped and banks are thinking of leaving,” he said. “The process of leaving will be tortuous, and the idea that we can trade better outside the EU – that’s nonsense.”

A more immediate problem for Ecotricity is regulatory. The last Labour government introduced attractive incentives for companies and homeowners to produce renewable energy, especially wind and solar power. These subsidies amounted to billions of pounds – since 2002 Ecotricity has received £36m towards building windmills costing over £100m – and have helped make Britain a world leader in green power. In 2011, 9 per cent of Britain’s electricity came from wind, sun and other renewable sources; in 2015 the figure was 25 per cent.

But since the Conservatives won a majority under David Cameron in 2015, breaking free from the restraints of their coalition partners, the eco-friendly Lib Dems, the government has made it harder for green projects to secure planning permission. It has also reduced financial support for the industry. In December 2015, days after helping seal the Paris climate-change accord, which called on all countries to reduce their dependence on fossil fuels, the government announced a series of cuts to subsidies for renewables, which are paid for through business and household energy bills.

“They [the Tories] have smashed renewable energy with a sledgehammer,” Vince said. “And they’ve done it in a deceitful way, saying it was for the good of the industry. They’ve practically shut down solar and onshore wind in the UK. Bringing forward new stuff now – I don’t see it happening.”

At the same time, the government is promoting fracking, a controversial process that involves blasting water and chemicals into rocks to release trapped gas. Fracking has been suspended or banned in France, Germany, the Netherlands, Scotland and Wales because of environmental concerns. Official surveys show that fewer than one in five Britons supports fracking, yet in October the government overruled councillors in Lancashire and approved plans to explore for shale gas there. “[Fracking] is a big risk to take for a gas that we cannot afford to burn if Britain is to hit its carbon-reduction targets,” Vince said.

His proposed alternative is to produce “green” gas from grass grown on marginal farmland. Ecotricity will build its first grass-to-gas mill in Hampshire next year, and Vince says that in theory the green fuel could be used to heat almost all homes in Britain within two decades. His vision is unlikely to get much support from Theresa May, who, after taking office in July, abolished the Department of Energy and Climate Change and transferred its functions to an enlarged department responsible for business. “It’s ideological when it comes to green stuff,” Vince said. “The left embraces it and the right does not.”

That is why, in February 2015, he donated funds to Labour, the first time he had done so. What does he think now, with Labour trailing so far behind the Tories in the polls? “Jeremy [Corbyn] is a lovely man. He believes that he can lead the party to a general election victory. But if I were him I might be inclined to stand aside. The party seems so riven, and that is a real problem. The Tories are having a free-for-all.”

He believes that Tony Blair has a role to play in restoring the fortunes of the left. “I am against Trident and nuclear energy, and for social justice. But I’m also a practical person. What Tony Blair did with Iraq was disgraceful. But there was more that was right. I think Blair did a fantastic job, and rumours of his return excite me.”

Ask Vince what he would do if he were Energy Secretary and he reels off a list: ban fracking; rip up the Hinkley Point C nuclear power contract; spend “a billion dollars” on promoting energy efficiency; tax polluting power companies; perhaps renationalise the energy industry, from producers to suppliers. He would also give green vehicles a big stimulus, as has happened in Norway with marked results. Thanks to tax breaks and incentives – exemption from VAT and public parking fees, freedom to use bus lanes – plug-in cars now account for over a quarter of new car sales in Norway. “It’s economic signals that change behaviour,” Vince says.

 

***

 

As a boy, Vince was astonished at how many cars there were on the road. Surely the fuel they were burning couldn’t last for ever, he remembers thinking. But the oil companies kept discovering reserves, so there was no incentive for manufacturers to develop green cars. In 2008, when there were fewer than 2,000 electric vehicles on the road across 40 of the world’s most developed countries – and barely any at all in the UK – Vince and his engineers decided to take the initiative.

“I’m a bit of a petrolhead and also a tree-hugger, which is a dilemma. I could not get an electric car at that time, so we bought the shell of a Lotus Exige on eBay and turned it into a supercar,” he told me.

The Nemesis, as it was called, broke the British land speed record for an electric car in 2012, clocking 151.6 miles per hour. By then, however, Vince had realised that building cars was a different proposition from generating energy. Instead, he had started rolling out the infrastructure that he hoped would hasten the take-up of electric vehicles.

“We wanted to break the chicken-and-egg scenario,” he said. Few people owned electric cars, so there were barely any motorway charging points in Britain, which in turn discouraged people from buying the vehicles. Ecotricity started with a three-pin-plug point at a service station in 2011. It took eight hours to charge a Nissan Leaf, a small, five-door family hatchback that at the time had a 73-mile range. “We knew it was not good enough, but that a massive increase in technological capacity was coming.”

Today, a Nissan Leaf, the world’s bestselling electric vehicle, can drive for 80 miles on a half-hour power-up at a service station, which isn’t a full charge. Most new electric cars can run for between 100 and 150 miles before they need to be plugged in. “Range anxiety”, which has been a deterrent for many potential buyers, is fading away. “In a few years’ time you’ll be able to drive 400 miles on a 15-minute charge,” Vince said.

The Electric Highway has encountered some bumps along the way. Early on, Ecotricity entered into an agreement with Tesla, the Californian electric car company run by the technology billionaire Elon Musk (who also plans to colonise Mars). But in 2014 Ecotricity claimed that Tesla had gone behind its back, negotiating with service stations with a view to installing its own chargers. Ecotricity sued Tesla, which then countersued; the companies reached an out-of-court settlement in June 2015. (Vince was involved in another settlement a few months later. His former wife, whom he divorced in 1992 when they had no assets, had claimed nearly £2m of his fortune, and was awarded £300,000.)

As with his early embrace of wind power, Vince’s bet on the Electric Highway looks a smart one. According to the International Energy Agency, there were 1.26 million either fully electric or plug-in hybrid vehicles on the road at the end of 2015, more than three times as many as in 2013. The IEA forecasts that by 2040 there will be 150 million plug-in cars in service. With petrol consumption accounting for nearly 20 per cent of all oil consumed, that has huge implications for the petroleum industry – and the planet’s climate. In November, Shell announced that overall demand for oil could hit its peak in as little as five years.

Ecotricity had allowed drivers free use of its motorway plug-in stations since 2011, but in July it introduced tariffs for the first time. A half-hour charge now costs £6. The move angered some motorists; but Vince, who says the Electric Highway should cover its costs this year, is unapologetic. “We don’t have to make money in everything we do,” he said, referring to the football club and the car-charging network – but however altruistic his motives might be, he is also a businessman.

Green cars remain relatively expensive in the UK – the cheapest model in the Nissan Leaf range costs more than £20,000. But prices are falling and choice is growing, with more than 40 electric or hybrid models on sale in the country.

“The stumbling block was the range of the cars and the cost. What’s happening is one is going up and the other is going down,” Vince said. “The technology is on the cusp of mass appeal. You will see the government jump in before long and claim credit for that.”

As for Vince, he doesn’t even own a car. On a beanbag at the office in Stroud are the helmet and jacket he uses when riding in to work on his KTM motorcycle. And yes, it’s electric.

Xan Rice is the features editor of the New Statesman

Xan Rice is Features Editor at the New Statesman.

This article first appeared in the 05 January 2016 issue of the New Statesman, Divided Britain

Clockwise from top left: Moonlight, Phantom Thread, Call Me By Your Name, The Shape of Water
Show Hide image

The hand that feeds: how food scenes became the home of intimacy, sex and power in film

While food in general has been a big part of film over the past two years, it’s feeding scenes that stand out: from Phantom Thread’s BDSM omelette to Moonlight’s diner meal.

When was the last time somebody fed you? Not the last time your friend invited you round for dinner, or your partner cooked something delicious and romantic that you ate together. Not the last time you went to a nice restaurant and your date scooped a forkful of their meal into your mouth. When was the last time someone lived to serve your appetite, and your appetite alone?

Being fed is something that happens to people in an infantilised state. It suggests vulnerability. In this way, it is deeply, sometimes overly, intimate. When one person is eating and another isn’t – particularly in a sit-down, food-focused setting – traditional social dynamics become imbalanced, like being stark naked next to someone fully clothed, or a singer performing for an audience of one. As such, being fed can sit on a knife-edge of power dynamics: sometimes maternally nourishing, sometimes romantically intimate, sometimes exposing and uncomfortable. As a visual expression of the complexities of relationships, and with our need for food so often functioning as a metaphor for emotional needs and sexual desire, feeding scenes are particularly cinematic.

In fact, they are some of cinema’s most memorable: from Snow White accepting the evil witch’s apple in Snow White and the Seven Dwarfs to the much-parodied food-as-foreplay sequence in 9 Weeks. I think of the sandwiches eaten early on in Psycho. When Marion arrives at the Bates Hotel, Norman Bates asks her, “Will you have supper here?” relaxing her by insisting “I was just about to, myself…” But once the sandwiches are prepared, Bates doesn’t eat. “It’s all for you. I’m not hungry. Please go ahead,” he insists. Marion, forced to eat alone, nibbles uncomfortably, and Bates watches closely. “You eat like a bird”, he says, comparing her to the stuffed birds dotted all around the room. It’s our first hint – along with his off-screen mother’s disembodied ranting about Mary “appeasing her ugly appetite with my food – and my son!” – that something is deeply wrong, as the proper dynamics of a meal are disturbed, and food openly discussed as a sexual metaphor.

While food in general has been a big part of film and film discussions over the past couple of years – from teenage girls snacking on un-consecrated wafers in Lady Bird to Get Out’s fruit loops and milk eaten (crucially, psychopathically) separately – it’s feeding scenes that stand out: from Phantom Thread’s BDSM omelette to Moonlight’s diner meal.

Perhaps no recent film privileges the role of food in relationships as highly as Moonlight (2016), which follows the coming-of-age of a gay black boy in Miami, Florida. “When it comes to food and film, its Barry Jenkins’ 2016 film Moonlight that paints food, and feeding, the most vibrantly,” Ruby Tandoh writes in her book Eat Up, in a section on the ways in which food functions as a language of caring. “The food is rich and exquisite and larger than life, but it’s not really the contents of the plate that counts. What matters, in each of these scenes, is that the meal sits there on the table between Chiron and the people who love him – a symbol of the most nurturing kind of love.” Moonlight explores the growing up of Chiron, in three acts (child, teenager and adult), and each of these acts contains at least one key scene in which Chiron is fed.

In an early scene, young Chiron (Alex Hibbert) is sat in a plasticy diner in front of Juan, a stranger who has taken it upon himself to look after neglected Chiron. Juan sits casually, a milkshake in hand, but with no food for himself, while Chiron eats his fries with a fork, quickly and silently.

“You not gonna tell me what your name is?” Juan says. When Chiron makes no attempt to reply, Juan pulls the tray out of his reach. Chrion looks down and shuffles back into his seat, still sulkily silent. Juan laughs. “Oh, man, you know I wouldn’t do you like that. Anyway, I apologize, alright? I’m just trying to get you to say something.”

After a short car ride, we are at home with Juan and his girlfriend Teresa. Juan and Teresa have no plates before them, but are both watching Chiron silently make his way through a plate of chicken. “You don’t talk much but you damn sure can eat,” Juan laughs. “That’s alright, baby. You ain’t got to talk till you get good and ready,” says Teresa. Finally, he speaks. “My name’s Chiron.” Even at this early stage in the film, the relationship between emotional and physical nourishment is clear, as food seen as a gateway to trust and familiarity.

When Chiron is older, he still relies on Teresa for this nourishment. In the film’s second act, Theresa tries to joke with a teenage Chiron (Ashton Sanders) as he eats (again, she herself does not), but Chiron, anxious and sullen, doesn’t bite, instead looking down at his plate. Theresa gently, lovingly insists he sit up and speak. “Stop putting your head down in my house. You know my rule, it’s all love and all pride in this house. You feel me? I can’t hear you. Do you feel me?”

These dynamics reappear in Chiron’s romantic relationship as a grown man. Now muscular and masculine but still shy and reserved, Chiron (Trevante Rhodes) meets up with Kevin (André Holland), the object of his childhood affections, in the diner he runs. This diner scene, for many the iconic image of the film, is stretched out until it twitches with sexual tension, full of long silences and extended eye contact, running at an almost painfully long fifteen minutes. “You ain’t changed one damn bit,” Kevin observes. “You still can’t say more than three words at a time, huh?” Without missing a beat, Chiron speaks. “You said you was gonna cook for me. I know how to say that.”

We watch Kevin prepare the chef’s special with skill and care. Kevin brings it over to Chiron in a window booth, insists they share a bottle of wine, and attentively watches him eat his meal. When Chiron drops a bit on the table, and eats it with his fingers, popping it in his mouth, Kevin laughs. “I saw that, I saw that!” When Chiron is reluctant to share more personal details of his life, Kevin refuses to let it slide. “I’ve been back there in that kitchen, man, and cooked for your ass and everything. Hey, these grandma’s rules, man. You know the deal: your ass eat, your ass speak.”

Kevin’s joking about “grandma’s rules” points towards the larger significance of Moonlight’s meals: food is the tool that allows Kevin, Theresa, and Juan to enter Chiron’s life intimately, in both parental and romantic roles. For someone like Chiron – lonely, neglected, whose appetites and needs don’t take centre stage in his own childhood home – meals like this become the times where he is most vulnerable, and most open to love.

Parallels have been drawn between Moonlight and Sean Baker’s exploration of impoverished childhood The Florida Project (2017), even by Barry Jenkins himself. Moonee, The Florida Project’s central character, is, like Chiron, the child of a single mother in desperate circumstances (they live in a $38 a night motel called The Magic Castle, near Florida’s Disney World). But Moonee’s mother Halley is more caring, and present, and is at her most nurturing when feeding her child.

In one scene, we watch from Halley’s perspective as Moonee eats her weight in food at an all-you-can-eat hotel breakfast buffet Halley has sneaked them into. Moonee wolfs down bacon and fruit and pastries, and drinks a huge glass of orange juice in a single gulp. She is thrilled: “I wish I had a bigger stomach – like I was pregnant! I could fit food in there... We’ve gotta come here again. This is the life man! Better than a cruise!” The whole scene is a performance: Halley pretends to be a normal hotel guest on holiday with her child, Moonee in turn plays up her enjoyment for her mother. But it’s a performance that allows Halley and Moonee to have a loving, normal mother-daughter relationship, even if it’s short-lived. Halley simply watches her overexcited daughter quietly, smiling beatifically. As her daughter is at her most effusive and childlike, delighting in life’s simple pleasures, Halley is at her most maternal.

Kelly Reichardt’s Certain Women (2016) can also be compared to Moonlight: here is a colder imagining of queer love in a diner. Lonely, isolated Montanan ranch hand Jamie (Lily Gladstone) falls for a young lawyer, Beth (Kristen Stewart) when she accidentally walks into her law class. After class, Jamie offers to take Beth to a diner. Over three scenes in that diner, Reichardt explores Jamie’s unreciprocated interest in Beth: in each, Beth eats while Jamie watches eagerly, ordering no food for herself.

In the first, Beth eats a sad-looking burger and complains about the long journey ahead of her. In the second, she eats a bowl of soup, while Jamie, again, only watches. Beth asks Jamie, businesslike, “Do you happen to know anyone in town who could teach my class?” Jamie chuckles sheepishly and says, “I don’t know anyone at all.” It’s overly intimate – Jamie wants Beth to ask about her loneliness. Her soft smile is the one of someone being examined by a new lover. Beth looks at her soup and asks Jamie vaguely about her job working with horses. Jamie responds with childhood anecdotes about her and her brothers sneaking out at night to ride wild horses, smiling that same embarrassed smile.

The third and final time the two arrive at the diner, it’s on horseback. Emboldened by the mere mention of her horses in their last conversation, when Beth agrees to share a ride to the diner, Jamie surprises her by bringing out her horse. The two ride the horse in silence. In the diner, biting into a grilled cheese, Beth offers Jamie some of her fries. Jamie, as ever, declines to eat, but stares unbreakingly at Beth, asking her a question that picks up on the last throwaway comment Beth made the last time they were at the diner: clearly, she’s been running that conversation over in her mind, thinking of something to ask her. It’s painful to watch such undivided, unreciprocated attentions, and Jamie’s misreading of the scene leads to an awkward declaration of feeling later in the film.

7,000 miles away, Francis Lee’s God’s Own Country (2017) too explores queer desire in an isolated, rural setting. Johnny (Josh O’Connor) is a closeted Yorkshire farm worker with a drinking problem, used to denying himself life’s pleasures. The arrival of stunningly handsome Romanian farmhand Gheorghe (Alec Secareanu) catches Johnny off-guard.

The first time they eat together, Johnny tears into a pot of instant noodles without putting a flavour packet in; Gheorghe empties his packet into his noodles quietly and slowly. They are silent and avoid eye contact. The second time, it’s early, the morning after their first sexual encounter. Gheorghe watches silently as Johnny forks noodles into his mouth. “What?” he asks, uncomfortable. “I’m starving, me.” The third time, after watching Gheorghe begin to pour his flavour packet into his noodles, Johnny holds his own cup towards him. Gheorghe shares his packet. Again, Gheorghe watches Johnny eat. Eventually Johnny is too uncomfortable under his gaze, and finishes his noodles inside, alone. But later, as their relationship develops, we see Gheorghe cook for Johnny, even tasting it and salting his food for him, and they begin to actually enjoy food together.

Shared pleasure in food as a form of romance pops up again In Luca Guadagnino’s Call Me By Your Name (2017), set in rural Italy in 1983. Oliver (Armie Hammer) and Elio (Timothée Chalamet) fall in love around the breakfast table, amongst fragrant peach trees. During their first breakfast together, Oliver begins by helping himself to an egg. He taps it with his teaspoon so violently he smashes the whole egg into a runny mess of yolk and bits of shell. The maid takes it away, he takes a second, and breaks into it with a little more restraint. Elio is eating a peach, chewing on it as his parents and Oliver chat about the fruit trees. Oliver begins hurriedly eating his egg, making appreciative noises, dripping liquid yolk all over the table, and is soon offered another. “No, no, no I know myself too well – if I have a second I’m just gonna have a third, and then a fourth, and you’re just gonna have to roll me out of here. Delicious.” Elio pauses from his chewing to watch, intently.

The next time we see Oliver eat an egg, it’s in close-up, with ridiculous squelching noises. Though Guadagnino has insisted there is nothing sexual about this moment, only Epicurean, (even insisting in his defence “We didn’t do a close-up of that”, but I beg to differ – see above), the dialogue during the scene at least links Oliver’s egg eating to sex. “We almost had sex last night,” Elio says to his father, while Oliver eats. Then adds, “Marcia and me.” Of course, it is peaches that are the film’s most sexualised food. And, as Dan Q Dao writes in Munchies, the original novel contains an even more explicit version of the scene, as Oliver eats a peach Elio has had sex with, while Elio watches.

Call Me By Your Name is not the only film this year offering audiences a sexy egg. Eggs are more deliberately sexualised in Guillermo del Toro’s The Shape of Water (2017), set in Baltimore in 1962. Every morning, cleaner Elisa (Sally Hawkins) masturbates in the bath in the time it takes her to boil two eggs to take to work. Later, when she first meets the fish-man creature the laboratory she cleans is experimenting on, she feeds him the very same eggs – which he devours with visible pleasure. Is this human feeding animal, mother feeding child, or lover feeding lover? Eggs bond them – “egg” is the first word she teaches him in sign language, and the eggs she brings him every day soon become tokens of love, as Elisa lines them up on the edge of his tank, making eyes at him.

In the film’s most unambiguous exploration of Elisa’s feelings for the amphibian man, the two sit at opposite ends of a long table, while the creature eats an entire plate of boiled eggs. As Elisa watches him eat, she sings along with the song on the radio, and the scene melts into an old Hollywood fantasy, where Elisa swirls around a stage with the creature in her arms. We cut back to the dinner table: the creature is studiously peeling his eggs, oblivious. When Elisa feeds the amphibian man, it both brings them closer together, and serves to emphasise the gulf between them in their experiences of the world.

In all these films, the relationship between food and sex is romantic, pleasant, or at least fairly safe. But in Julia Ducournau’s French film Raw (2016), food and sex are dangerously, violently linked. During an initiation ceremony at her second day of veterinary school, vegetarian Justine (Garance Marillier) is forced to eat raw rabbit’s kidneys.

It brings her out in a bright red rash – and sees her develop an insatiable craving for raw meat, sex, and even human flesh. Slowly but surely, Justine starts eating other people. As the film goes on, her primal, cannibalistic desire becomes indistinguishable from lust.

Food is dangerous, too, in Sophia Coppola’s The Beguiled .When wounded soldier Corporal John McBurney (Colin Farrell) ends up at all-female boarding school in Civil War-era Virginia, his presence is an unwanted, but nevertheless thrilling. Three dinner scenes between teachers Miss Martha (Nicole Kidman) and Miss Edwina (Kirsten Dunst) with their five pupils explore the tensions he brings into the home. In the first, the women mediate on the lessons his arrival could teach them. In the second, they are joined by the Corporal himself, each of the girls taking their moment to try and impress him. They take the odd bite of their meal, but their attentions are focused on McBurney, who is forced into a performative tummy-rubbing appreciation: “This is the finest meal I can remember”.

The third comes after McBurney has threatened, at gunpoint, to murder the women. They decide to protect themselves and dispose of him by feeding him a poison version of his favourite mushroom dish. “Corporal, we’d like to let you know that we harbor no ill feelings, and made this meal in commemoration of your journey ahead,” Miss Martha insists. As the mushrooms are passed to the Corporal, none of the girls help themselves. As he piles his plate high, the girls stare on and neglect their own plates. Coppola’s stage directions repeatedly emphasise how the women keep their gazes fixed on McBurney: “All eyes are on him”; Jane, Emily and Amy “stare”; “They all watch as McBurney eats up the mushrooms”; “The girls watch him”; “The united women calmly watch”. Of course, unbeknownst to McBurney, the intensity of their undivided attention and their own refusal to eat the mushrooms is a sign that something deeply suspicious is happening.

Ultimately, any intimate act is so because it holds a level of risk, and requires an element of trust. Here, the vague danger that comes with accepting food from another person is taken to its logical conclusion. Within a few seconds of eating, McBurney lies dead on the floor.

Strangely, The Beguiled is not the only film of 2017 featuring a woman feeding a threatening man poison mushrooms to regain control. In Paul Thomas Anderson’s Phantom Thread, the dining table at 1950s London dressmakers the House of Woodcock is as fraught as that of a Civil War boarding school. Phantom Thread explores the complexities of hunger and sexual desire perhaps more explicitly than any other film this year: at the New Yorker, Helen Rosner calls in “one of the great food movies in recent memory”. Difficult, self-mythologizing 1950s fashion designer Reynolds Woodcock has a complex relationship with his work, alternating between discipline and spontaneity, self-denial and self-expression. His relationship with food oscillates, too: sometimes it is one of control and deprivation, other times an ecstatic binge. When he is happy, inspired, or aroused, Woodcock eats with relish.

When he first meets Alma (Vicky Krieps), she is a waitress in a seaside café – from her, Reynolds orders an endless breakfast: “A Welsh rarebit. With a poached egg on top – not too runny. Bacon. Scones. Butter. Cream. Jam – not strawberry. A pot of Lapsang souchong tea. And some sausages.” She delivers it to him, along with a note: “To the hungry boy.” Food remains the sire of their flirtation and their battleground.

As Reynolds’ relationship with Alma develops, her relaxed approach to food enrages him. She butters her toast too loudly, slurps her cereal obscenely. She violates the sanctity of his breakfast by eating enthusiastically. “If breakfast isn’t right,” Reynold’s sister Cyril (Lesley Manville) explains, “it’s very hard for him to recover for the rest of the day.” When Alma brings him tea in the afternoon, he balks. “No, Alma, what are you doing? Don’t put the tray on the table, please. Just take it off. I didn’t ask for tea.” When she replies that the tea is going out, he snaps, “The interruption is staying right here with me.” When Alma rejects the conventions of the household to prepare a surprise dinner for Reynolds, he makes no attempt to conceal his disdain: “As I think you know, Alma, I prefer my asparagus with oil and salt. And knowing this, you’ve prepared the asparagus with butter. Now, I can imagine in certain circumstances being able to pretend that I like it made this way. Right now, I’m just admiring my own gallantry for eating it the way you’ve prepared it.” Perhaps their worst argument ensues.

In these moments, Alma is a nuisance, or worse, a threat to the stability and order or the House of Woodcock, forever interrupting Reynolds with inconvenient reminders of troublesome human desires: food, sex, emotional intimacy. But when Woodcock is invigorated, inspired, and happy to give in to his wants, both Alma and food become much more enticing prospects. ”Do we have porridge?” he says brightly to his cook one morning. “Do we have cream? Thick cream? That’s what I’d like. Oh, Alma, would you like some porridge?”

Ultimately, Reynolds fluctuates between desiring power and control, and desiring its opposite. Understanding this, Alma is able to slowly, carefully, become the dominant party. Of course, it’s food – and feeding – that enables her to do this. The film’s final scenes shows Alma preparing a poisoned mushroom omelette for Reynolds: that will force him back into a vulnerable, infantilised, pathetic state, and put her in the position of controlling caregiver. “I want you flat on your back,” Alma whispers, “helpless, tender, open, with only me to help.” Reynolds smiles. It’s a state he desires sexually, emotionally and physically as the film’s insistent final words make unavoidably clear. “I’m getting hungry,” Reynolds says. We cut to black.

Anna Leszkiewicz is the New Statesman's deputy culture editor.

This article first appeared in the 05 January 2016 issue of the New Statesman, Divided Britain