What’s in the Ice Box? A Love Letter to David Fincher’s Fridges

Fincher is a man of details, so let's look at one of his most recurring calling cards.
David Fincher Fridges

Welcome to The Queue — your daily distraction of curated video content sourced from across the web. Today, we’re watching a video essay about the many metaphorical fridges in the David Fincher movies.

There are a couple of words that come to mind when I think of director David Fincher. Cold is one of them. Bleak is another. He is, as The New York Times proclaimed: a purveyor of beautiful bummers. But in my opinion, one of the biggest descriptors in the word cloud is precise.

Fincher’s films are controlled, almost to the point of being clinical. He’s not the type to waste an on-screen opportunity and makes every detail count. Now, this is, ostensibly, true of most films. Directors have a great deal of control over what finally winds up in the frame, from lighting to prevalent colors to the mise-en-scène. But Fincher feels different in that I expect him to be exacting and intentional in a way I don’t of other directors.

So, when a recurring detail presents itself in a Fincher film, you’d be forgiven for digging into its metaphorical significance. And sometimes a fridge is more than just a fridge. Yes, in Fincher’s cool, calculating hands, this commonplace appliance is anything but common. What we eat says a lot about who we are, and fridges have a way of hinting at more than just our grocery habits. From questioning domesticity to humanizing protagonists (and dehumanizing others), here’s a look at the many meaningful fridges in the work of David Fincher:

Watch “What’s in the Box? David Fincher’s Fridges”:

Who made this?

Established in 1981 and focused on arthouse films, De Filmkrant is the largest independent film magazine in the Netherlands. You can check out their official website (in Dutch) here. And you can follow them on Twitter 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.