The ‘full-flowing stomach’: unwholesome food, climate, and colonialism in King Lear and Kristian Levring’s The King is Alive

Abstract This article considers Kristian Levring’s 2000 film The King is Alive from a radically open historicist methodology, analysing the film as a product of multiple interleaved archives. An adaptation of King Lear, the film’s relevant archive includes documents from the English Renaissance like the early modern recipe books and seventeenth-century medical treatises that this article uncovers. Yet because The King is Alive was filmed in an abandoned German mining colony in the Namib desert, the archive must also include accounts of the colonialist ‘Scramble for Africa’ more than two centuries after King Lear was written. The methodological deftness of history-as-adaptation allows us to see the film’s anxieties about food that rest at the nexus of these two archives. Shakespeare’s play worries about liminal foods—species-specific foods, foods that fail to nourish, and foods that become poison—but the film updates these concerns to implicate Western imperialism and global capitalism. Surrounded (and, in one instance, killed) by potentially botulistic cans of carrots that remain after the German occupation, the characters in the film must grapple with the toxic leftovers of colonialism, including Shakespeare’s playtext. The film thus asks its audience to consider further archives related to the imperialist roots of the invention of canning, the discovery of vitamins, and the export of Shakespeare as a ‘civilizing’ figure. Finally, the film gestures to the foodway challenges exacerbated by both capitalism and climate change, becoming a palimpsest of archives from across multiple temporalities: a Shakespearean past, a colonialist present, and a warming future.