Visionary David Cronenberg reflects on the “crime of the future”


it’s not free to hang David Cronenberg (Toronto, 1943), repeatedly labeled “prophet.” Both focus on the forms cinema has taken since its beginnings more than half a century ago, as well as how the human body has evolved in symbiosis with technology.

Highlighting the visionary quality of his cinema and concretizing the aversion to what he predicted and saw throughout his career might help us understand why the title of his last film, future crimescoincides with one of his first works from 1970, even if that’s not a reconstructionRather one. In place redux: Another very different film.

The film with which the Canadian now returns to the big screen after eight years of silence (and hopes) is not the only oneI wish you a good return fear of the body that practically himself made and refined (At least in its postmodern expression, as in Milestone videodrome, Fly or Crash), rather a kind of summation and collection, to “clean up” his discoveries and his triumphs in the genre, concentrating them in a work with the essence of the same B series that has always shaped his filmography.

All this with a cast (Vigo Mortensen, Lee Seydoux and Kristen Stewart in an explosive jumpsuit), production design (Carol Spier) and first-class photography (Douglas Koch), as well as A screenplay (from Cronenberg’s first “original” Existence) which respects the talent, character and reputation of its author.


no communication, just with Voice off About the actions of the characters, who remained silent, previous history future crimes (1970) was told from the reflections of Professor Tripod (Ronald Mlodzik), director of a dermatology clinic. it will find mad doctor Antoine Rouge, a cosmetic capable of completely wiping out the mature female population, disappeared after the plague epidemic. End of reading. In the range of humanity where a mother kills her son because he has developed the ability to feed on plastic, the viewer is also immersed in his latest dystopia.

To coincide with the Cannes premiere of his new film, Cronenberg released a video in which he explains to the camera, fascinated and arrogant, that microplastics have recently been discovered in the blood of some people across the planet. It makes it feel like everything in the dark dark world is happening in the new Cronenberg future crimesseemRespond to their need to revise certain assumptions in light of new evidence.

one of his first characters future crimes He parodied reproduction by growing new organs removed from his body. Following this method which, 52 years later, invites us to believe that “surgery is a new penis”, as the new flesh of humanity accesses sexual pleasure in the way it is manipulated and altered by extractions. and transplants are also given which are new organs. It is in this ability to elicit these sexual surgical interventions with simultaneous fascination and disapproval that Cronenberg’s cinema is unmatched. and attractiveness, the interplay between magnetism and repulsion of images.

Fantasy, art, science, sex and technology are intertwined in the story of a future that should not be far from the present. The physical changes of our time thus create a state of existential suffering. The main roles go to certain actors, Saul (Vigo Mortensen) and Caprice (Lee Seydoux), who make up performance on her body through high-risk surgeries, and whose apparent beauty garners the passion and admiration of her followers. Thus, Cronenberg places the development of the human being, in conjunction with the biological sciences, in the field of artistic expression.


Filiside’s father is smuggled in with his dead son’s body, so the vehicle for the brief plot is the corpse of a child. The acting duo intend to conduct an autopsy as a means body art with the intention of telling the world that a wise man Modifies its digestive system to be able to feed on the resources around it. At the same time, darkness and government forces are trying to stop these changes.

Director David Cronenberg directs American actor Viggo Mortensen

The legend of a Baudrillardian nature created by Cronenberg, by Philip K. Wrapped up as a short story by Dick or Ray Bradbury, it slowly takes shape as a disturbing living organism that elevates the proposal to a unique formal dimension. Perhaps the most alluring world is the one he creates on screen, mostly at night and indoors.The rate at which the human species develops new organs forces governments to create registries.

In light of this new opus, Cronenberg’s cinema goes beyond horror and comedy, repulsive and sensual,Achieving a one-of-a-kind category despite imitators. The eroticism of the deformed body remains the central spectacle of Canadian cinema, although there are future crimes A bio-philosophical base which adds to the images of influence typically associated with his cinema.

A kind of dark romanticism emerges in the dreamlike and twilight setting, but coexistence of the sinister with a certain conception of lightness, even comedyThe “New Flesh” theorist, on the threshold of his 80th birthday on Earth, carefully modifies the tone to adapt to the mixture of elements. Operation In a memorable creature.


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