David Cronenberg, a true classic of cinematography, and his body horror films are a unique, incomparable experience that not every viewer can appreciate.
The theme of bodily mutations and truly bizarre beings or bizarre biotech devices runs through his entire oeuvre, so of course I couldn't miss his new film Crimes of the Future in which he once again turns to radical and very frightening transformations.
So the film is set in the distant future. Mankind has entered a new round of evolution, has become immune to infections, has lost the ability to pain, and many people have begun to have new organs, the purpose of which science can not always explain. One such unique person is the artist Sol Tenser (Viggo Mortensen) whose body constantly produces such new organs, on which his wife Caprice (Léa Seydoux) tattoos and then artistically carves during their art performances.
To say more about the story is to spoil the pleasure of watching it, especially since Maestro Crownenberg, now 79, brilliantly models this strange world frozen in ruin and leisurely dissects it, weighing all the arguments while letting the viewer draw conclusions.
Sure, I was glad to see the strange devices (a live surgical table, a bed with tentacles and a breakfast chair) reminiscent of his eXistenZ quirks and Naked Lunch monsters, but as one of the film's heroines (Kristen Stewart) says "Surgery is the new sex," and the director willingly reinforces this statement with beautifully staged and erotically saturated scenes in which Mortensen and Seydoux are incredibly good.
And of course, like many of his previous films, Crimes of the Future with its socio-environmental undertones can be interpreted in different ways, but one thing is certain: it is an extraordinary film of the highest caliber and a stunning statement on creators and creativity.
Posted using CineTV