Let Them Film Cake: A Confectionary Montage

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Welcome to The Queue — your daily distraction of curated video content sourced from across the web. Today, we’re watching a video essay that explores cake on film.

As we keep learning in this column, the list of “stuff with an innate affinity with film” just keeps on growing. Dancing looks preternaturally good on film. Cooking and film are a match made in heaven. And so does today’s subject: cake.

That’s right: cake. A sweet, bread-like dessert, there are enough iconic cakes in cinema to open a pastry shop. The carrot cake in 2009’s Drag Me To Hell that has a demonic eye in it? Incredible. Bug-eyed Milton Waddams failing to grab a slice at a lukewarm celebration in Office Space? You love to see it. Debbie Reynolds’ exploding out of a cake in Singin’ In the Rain? Put it in the Louvre.

With very few exceptions, cakes are meant to accompany special events. A housewarming party? Cake. Weddings? Cake. Depressive episode? Cake.

Maybe it’s a false positive, but since major life events and cake tend to go hand-in-hand, the pastry benefits from a good deal of residual metaphorical power. We all have strong emotional associations with cake; good, bad, nostalgic, you name it. And that’s precisely the kind of visual storytelling cinema latches onto.

Need more proof? — (don’t proof for too long though, I’ve heard that makes baked goods cave in on themselves) — then check out the video essay supercut below that celebrates the screen time of cinema’s sweetest treat.

Watch “Cake on Film | A Sweet-Toothed Supercut”

Who made this?

This look at cakes on film comes courtesy of the fine folks at Little White Lies, a film-obsessed magazine based in the United Kingdom. Madzia Zalewa edited this video. You can follow Little White Lies on Twitter here. And you can check out their official website here. You can subscribe to their YouTube account here.

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Meg Shields: Based in the Pacific North West, Meg enjoys long scrambles on cliff faces and cozying up with a good piece of 1960s eurotrash. As a senior contributor at FSR, Meg's objective is to spread the good word about the best of sleaze, genre, and practical effects.