crimes of the future is the new disturbing and twisted film born from a mind like that of Cronenberg. After passing through the Cannes Film Festival this story starring Viggo Mortensen Y Lea Seydoux arrives in Spanish cinemas next September 23. Also, David Cronenberg is about to receive Donostia Award of the 70th edition of the Sebastian Festival, an award that aims to recognize his unique career. The meeting will take place next September 21 at the Victoria Eugenia Theaterafter that your film will be screened crimes of the future. HERE you can read another review of the film made by Cinematopsail
criticism of ‘Crimes of the future’
Title: crimes of the future
Original title: crimes of the future
Viggo Mortensen (saul tensor)
Lea Seydoux (Caprice)
Kristen Stewart (Timlin)
Scott Speedman (Lang Dotrice)
Welket Bungue (cope)
Don McKellar (Wippet)
Lihi Kornowski (Djuna)
Tanaya Beatty (Berst)
Nadia Litz (Router)
Yorgos Pirpassopoulos (Dr Nasatir)
Denise Capezza (Odile)
Ephie Kantza (adrienne berceau)
Jason Bitters (Tarr)
Duration: 107 minutes
Director: David Cronenberg
Script: David Cronenberg
Photography: Douglas Koch
Music: Howard Shore
Gender: Science fiction. Fantastic
Distributor: Watch movie
trailer of ‘Crimes of the future’
synopsis of ‘Crimes of the future’
As the human species adapts to a synthetic environment, the body undergoes new transformations and mutations. Saul Tenzer (Viggo Mortensen), celebrated performance artist, publicly displays the metamorphosis of his organs in avant-garde performances with his partner Caprice (Lea Seydoux). Timlin (Kristen Stewart), a researcher for the National Organ Registry, obsessively follows their movements. That’s when a mysterious group shows up: they want to harness Saul’s fame to reveal to the world the next stage of human evolution. (Watch movie)
Where can you watch the movie in streaming
The return to body horror
After Maps to the Starsthe twisted director of memorable works like The fly either inseparable he takes his audience back in time. crimes of the future It presents us with a time when the human body has learned not to suffer any kind of pain, except for a new class of humans capable of creating new organs.
All this triggers a world of carnal spectacle in a sea of scalpels, viscera and apparently a lot of pleasure where biological horror is once again the center of attention for the Canadian director. The visceral nature of the film will turn off many of the viewers who seek to approach this director for the first time. However, it is a claim to which we are already accustomed with his filmography, and, therefore, should not be cause for alarm or surprise.
The body horror It will be a gift for lovers of the subject who come to Cronenberg’s new work, who promises reflection with it. It dissects the minds of these spectators, who, even oversizing it, receive some kind of satisfaction, that is, pleasure, by going to plots where the mutations and the viscerality of the flesh itself frighten, but attract at the same time.
inexplicably, Cronenberg tries to make sense of the reasons why we, the spectators, voluntarily sit down to watch a twisted cinema, a show that lives on guts and blood looking for something that fills and satisfies us, sometimes even involuntarily attracted by these kinds of stories.
The scalpel is the new pen
Beyond any superfluous reading of pleasure for the body horror and to give a rational meaning to that instinct that leads us to satisfy our minds with these stories. crimes of the future poses a much more interesting vision, the expression of the artist. According to the universe proposed by Cronenberg, the kind of human beings that are capable of generating new organs are seen as artists. All this is produced by the instinct of his own body, which subsequently serves to offer a whole performance to an audience thirsty for pleasure.
Two people intervene in the performance process, the so-called performance artists, one of whom creates the organs while the other removes them. Or to call it another way, the screenwriter and the director. The screenwriter is that person with a mind with the ability to generate new ideas and shape them, almost instinctively, without looking for it, like Mortensen’s character. On the other hand, the director uses the ability of the screenwriter to transform the raw material into a whole show that satisfies the masses. He shapes the content, he disguises it under his way of doing things and thereby seduces viewers who demand more when they finish.
It is a very clever metaphor that can be read in the Canadian director’s film. Personally, crimes of the future is the physical impression of the artist and his work and a firm dissection of the relationship between director and screenwriter in which Cronenberg likens making art to opening up body and soul to viewers.
beyond the readings
However, beyond its possible meaning for what would give very interesting debates, the film crimes of the future I don’t think it leaves viewers as satisfied as previous films by the director. Its initial complexity, and the presentation of a singular future causes the viewer to get lost at the beginning trying to make sense of what he is witnessing.
In addition, the film has a lack of clarity when it comes to setting your journey, which can end up leading to a feeling of confusion when sailing without a really fixed course. However, the film manages to impregnate the atmosphere with an addictive magnetism, and the more chameleon-like actors than usual (almost all of them) function as cornerstones of the story. The duo made up of Viggo Mortensen and Léa Seydoux are full of chemistry and have a high adaptability to convince both individually and together.
On the other hand, the actress Kristen Stewart Personally, he ends up sweetening his scenes too much with a nostalgia that gives off sadness from his gaze. Her first steps in her story are convincing, but over time the actress fails to offer anything remarkable. She abuses too much of this nostalgic gaze and her restrained tone of voice that causes us to look at her scenes with a feeling of strangeness. He is unable to modulate his interpretation to what each scene requires, and he relies on an interpretive tone that convinces at the beginning, but ends up saturating everything he touches at the end.
Going to the visual, the film crimes of the future offers a unique and attractive sensory experience. The ocher colors envelop the production establishing a more earthly sense, but it also makes the future that is painted seem catastrophic and decadent. A message supported by the production design that makes the interiors and exteriors look deteriorated and abandoned to their fate, like the human being in his evolution.
The most notable are the physical effects, the realistic sensation that these provoke in the image, enriching it in a way that reminds one of the first works of the director. They also blend extremely well with the CGI, creating a sci-fi environment rich in shapes and textures.
Even so, it is inexplicable how a film with so much identity and differentiating elements does not end up coming together as a whole. She gets to feel thick, and the idea of a not so defined course harms her. In addition, many of the messages and reflections that the director seeks to put on the table, such as the ability of the human being to evolve to fix our mistakes, adapt to a catastrophic future or the union of technology and the human being do not seem to arrive solidly. to receivers nor to propose a reflection that is worth highlighting after viewing.
movie conclusion ‘Crimes of the future’
The movie crimes of the future of David Cronenberg It is not a perfectly packaged work, but it offers numerous possibilities for which it deserves to be a story to revisit and debate. It is the faithful style of Cronenberg that is back, and it is the reason why this unique story deserves to be valued and will offer a catatonic experience to its viewers.
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