Just when his fans realized that David Cronenberg called it a career (he is now 79 years old and has not made any feature since Misfire). Map of the stars 2014), comes with a film that only distorted Canadian masters can produce.
Considering body parts and curvature and / or structural uses appropriate to assign them here, Cronenberg did not exactly do a comedy with Crime of the future. But a gross and even unpreparedly horrific display of oppressive experimentation and physical corruption that could have been treated with an unexpectedly light and even humorous hand, a feeling that is underlined by the characters’ disinterested and explicit confession that they do not. They know exactly what they are doing to match humans and mechanics in their adventurous quest.
Originally set to be made in 2003 before being canceled, it is a film that targets the director’s core audience; Rarely, if ever, have human organs played such an important role in his work, and it says something. But regardless of age or inclination, here he is joking a little about his strange arrogance and taking them less seriously; He’s not on a self-parody stage, but there’s something eye-popping behind what he’s doing that wasn’t often proven before.
Everything that is transformed here descends into a claustrophobic, man-made world; Some, if any, have external scenes (the film was shot in a Greek studio more than a month ago a year ago), and there is a rather disgusting artificiality around it that emphasizes the polarity of the characters and their world.
Similarly, they see what they are doing as transformative, potential (and necessarily) revolutionary. Like profound fundamental advances such as explosives, surgery, flight, electricity, etc., the incompetent characters here advance the union of man and machine as the next frontier. Impossible to hear, the foundation takes root in a strange combination of technology and the performance industry.
David Cronenberg’s ‘Crimes of the Future’ scores six-minute standing ovation at Cannes World Premiere
The latter is the domain of Saul Tenser (Kroenberg regular Vigo Mortensen) and his partner Capris (Leah Sedoux), who have created a show that goes beyond body art: they do organ transplants and create alternative uses for body parts. Needless to say, it’s sharp, trailblazing stuff; One would guess that what they do represents a very underground, sophisticated form of entertainment, although the rest of civilization at the moment is what anyone would guess.
Saul is obsessed with his own body, introducing hormones into his bloodstream that create new branches that he calls his work “organ recovery.” The process can be a bit stressful but obviously, not all is painful; However, it is valued by Saul, a pioneer, adventurous spirit who knows no limitations and declares that “the artist’s goal is to seek pain.”
Naturally, the old hobgoblin of censorship still exists, in some form here called the new vice unit, for which Timlin (Kristen Stewart) is an investigator. Even though he himself admits that “surgery is the new sex”, he is still on the lookout for evil (although it manifests itself in this world), but his character remains a rather ambiguous one as Stuart acts in a strangely nervous way.
In terms of plot and technology, Kronenberg takes his story to some fascinating places, some of which are forever wild, and sometimes uncomfortable, opening the door to the destination; The director carefully organizes the melody as he creates a one-and-a-half mix between the hunting / exploitation elements of his previous work and his more ambitious serious fare. The combination works more or less, as Crime of the future It is serious, elegant and provocative which cuts it as an art film in the ear competition as well as provides a thick product of body parts and stimulates exploitative film.
Too many filmmakers can’t stop the two, but Cronenberg still manages it quite well.