David Cronenberg is not only noteworthy in theCrimes of the Future(now VOD), but is back in classic form. In the midst of the arthouse horror revival (revival, revitalization), where the word "body horror" is often returned to the wet mouth, how the master essentially invented the subgenre. It makes sense to show everyone what to do, in a movie boasting a decent catchphrase: "Surgery is a new sex." Since the wonderful WTFereXistenZin 1999. Kronenberg avoided his characteristic high-ic factor metaphor (althoughEstamp Romisis another type of mere body horror), at least for him. , Will be a relatively traditional psychodrama and thriller. So it is a terrible delight for us to sit down and seefuture crimes, which promises to disturb our stomachs. At least we hope so, because we like it for some reason.
Future crisis: Stream or skip it.
Key point:It seems that some kind of apocalypse has occurred. It feels like the post-Internet era. Also, in the post-painting era, all paints everywhere are chipped, cracked, peeled off, and worn. The lighting is also dim and shadowy in most cases. We meet boys who can consume and digest plastic. His mother's feelings are more extreme. She chokes him with her pillow in her intense dislike, implying her desire to remove him from the gene pool. Elsewhere: A giant upside-down beetle shell-like thing hangs from the ceiling of a tentacle-like cable. This is a biotechnology bed, like leather that plugs itself in through an accessory that appears to have been lifted from an alien autopsy waste bin. Saul Tenser (Viggo Mortensen) is sleeping here, but for most of us it looks like a nightmare time, so I hope it's a little peaceful. And he sits in a boney biotechnology chair, slams him and helps him eat breakfast by stimulating his body in some way, and how it works and why he It's a mystery what they need it, and it's conceptualized by a powerful great weirdo (Kronenberg) to make us feel ... what. I sneaked up. It was wonderful. upset. Indeed, all of that.
The sole is a human specimen that is unique in many respects. Mankind has evolved to the point where the vast majority of people no longer experience pain, and he is a rare exception. (Leave it to Kronenberg to create a far-off, far-flung, post-pain reality from paradise. Far away.) His body also has trace organs previously unknown to science. Generate regularly. It was neat. Incubation of his organs seems to be the key phrase in the description of this movie. This makes the context rough and / or suggestive. Otherwise, he is awake and lying peacefully during his surgery. The organ is deleted as described above. It was removed for a live audience, but in the future it looks like Streaming TV has been replaced by surgery as a performance art (with an unfortunately unconvincing blend of practical and CG effects). It is drawn). And Saul is a superstar and talented from his "accelerated evolutionary syndrome" case. His art partner and what looks like his life is Caprice (Lea Seydoux), who runs using the biotechnology "autopsy unit". It's a very sensual act, with pulsing and moaning, and people are staring at something they shouldn't stare at, but they can't stop themselves. And when Saul and Caprice are done, they bring the organ to the "National Organ Registry". As such, civil servants Wipet (Don McKeller) and Timlin (Christian Stewart) are entirely Startrack tensor fan girls and can be cataloged.
The plot floats on Saul, and Caprice's life is like an air of horror with the apparent dead end of human evolution. It involves Lang (Scott Speedman), the father of the murdered boy. Langs are often seen eating strange purple candy bars. In one scene, an unidentified man bites and dies almost instantly. A pair of women repairing biotechnology (Lihi Kornowski and Tanaya Beatty) participate in an indescribable comic relief. Detective (Welket Bungue) wants to infiltrate a group of evolutionary radicals and seeks help from Saul, who keeps his involvement from Caprice secret. All this is happening somewhere, but to be precise, I didn't have a clue.
Which movie reminds you? : Crimes of the FutureIf you rub your hands everywhere, sniff and lick a little, it feels like a sister movie ofeXistenZ, but at first it works. Due to its lowness, Kronenberg's classic works (in no particular orderscanner,fly,videodrome,Crash,History of Violence,Eastern PromiseandDead Ringer). Taking into account the recent highly effective body horror movies, Julia Duklnow is a wonderfully confusedTitane
performance worth Out Kronenberg in Performance Kronenberg: Seydoux's Performance is the closest thing to making a movie emotionally accessible, and she's tackling the challenge. Otherwise, Stewart is willing to be weird as a resident scene thief who doesn't get close to enough screen time.
Memorable dialogue:Sole: "I'm sorry, I'm not very good at old sex."
Gender and skin:" As far as the "old" gender is concerned, a few frontal nudes of women stand out. Sexually "new", you can shoot a cold shower for the scene where the scalp cuts into the torso and see that there are crazy things in them that have never been seen before.
Our view:Kronenberg's embarrassing and embarrassing fetishes are happy to report that they are completely intact after some time away from the public. .. Your squirting is an act of delight. However,Crimes of the Future – the title is only related to Kronenberg's early short films – retains some of the understated qualities of works since 2000 and is blunt. It's a tragedy, but with a sneaky smile that hints at something similar to hope. Our humanity may be a problem forever, but we wish for human patience. Think about the difference.
Let's pull the thread. The evolutionary discontinuation of "pain" in this context has never been revealed – obviously physical pain is important, but what about psychological pain? The calm tone of the movie suggests that it is also at a loss. Joy can exist without pain. Definitely not. The sex we know is adopted by the desire to experience the literal "inner beauty". And without sex, duplication is a question mark. Self-preservation as a basic survival tactic is being phased out if pain and no need to avoid it. Read the physical environment of this world. The gorgeous and powerful shades of blue in the sea and the humans living in the ruins near old buildings suggest that nature has recovered from what could only be considered an environmental disaster. This is a severe portrait of a real crisis. Remember that evolution has no emotions. It's a mechanism.
Perhaps this story – chambolic, confusing, somewhat chaotic, but densely populated – acts as a metaphor for numbness and we, like from dim to dark. Invade. And in the dim world of Kronenberg, people stay energized through artistic expression and prevent their numbness, which can be strange and annoying. We open our eyes wide, sometimes curl, sometimes laugh, and watch the filmmakers stuff the screen with wild images. Future crimesmay not be as viscerally satisfying as Kronenberg's other works. He does not show his urge to history or his desire to preach a dire future politics. No, his concern is our soul.
Our call:STREAMIT. Future crimeis neither a new beginning nor a peak of physical fear. But Kronenberg still works in a provocative medium like the Master.
John Serba is a freelance writer and film critic based in Grand Rapids, Michigan. johnserbaatlarge.com
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