Canadian director David Cronenberg is a cult institution. His brand of weird cinema has become its own verb to describe other strange movies. Over the years there have been many seeking to take his crown, including his own son, Brandon Cronenberg. Though some have come close, no one has yet managed to remove the master from his mantle. Cronenburg’s new film, Crimes of the Future, affirms his reign will continue as it is one heck of a bizarre mind twist. An adaptation and reforming of his 1970 film of the same name, Crimes of the Future is a brain-aching study of the human condition.
Set in a world where human kind have lost the ability to feel pain, Crimes of the Future is a tricky film to describe. Not because there would be spoilers, but simply because it‘s going to take a few attempts to fully drill down into what is going on. In this world, surgery has become the new sex. Hands inside the body, mixing with internal organs, is the new form of penetration. It’s a strange concept, but one handled with Cronenberg’s unique brand of sensuality which, when combined with the performances on screen, do manage to sell it. With cosmetic surgery such a normal commodity in our current society, Cronenberg is pointing out how, in a similar way, we ourselves are idealising and fantasising about those that have had surgery and therefore we are not too far removed from those on screen. There’s also a plot involving a plastic-eating child that presents a commentary on our reliance on the artificial to sustain us in the world. This additionally serves to highlight the plight of our oceans, with our polluted, plastic-filled waters infecting our marine-life and in turn, us.
Crimes of the Future has one of Cronenberg’s starriest casts. Whilst Viggo Mortensen is a Cronenberg regular, Lea Seydoux, and Kristen Stewart are newer additions. Both are sure to draw in a more modern, and potentially less Cronenberg-literate crowd. Each actor embraces the Cronenberg way of life and is not afraid to shake up their public personas and get wacky and weird. Stewart especially, has been curious for interesting and unique projects since her Twilight days and here the star has found a perfect candidate. Though not on screen as much as many might prefer, Stewart brings a lot to the film; her character, Timlin, has repressed sexuality, which forms a cornerstone of the story. Seydoux has much more screen time and dominates every scene, even those shared with Mortensen. Seydoux’s Caprice is an arresting and alluring character. Her passion for her work is palpable and it is through her that the audience are seduced under the Cronenberg spell.
A classic Cronenberg case of having to embrace the strange and hold on tight, Crimes of the Future will test even the most devout fan. There are levels to Cronenberg’s unique cinematic vision and Crimes of the Future is almost off of the charts. A must for experienced fans of the director, all others should approach with slight trepidation as this is one warped and wild ride.
Crimes of the Future
Summary
Despite having one of the more appealing cast lists, Crimes of the Future remains one of Cronenberg’s most inaccessible texts. If this is your first Cronenberg, it is unlikely to push you toward his back catalogue.
Crimes of the Future arrives in UK cinemas from Friday 9th September.
