Crimes of The Future, the future according to David Cronenberg between madness and surgery

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The future is no longer what it once was. Nor is crime. Director David Cronenberg knows this well. 8 years after the flamboyant Maps of The Starsthe visionary Canadian filmmaker tears open Maya’s veil and shows us what we will become and, perhaps, we have already become. Crimes of the future, after having passed in competition at the Cannes Film Festival, arrives in Italian cinemas starting from 24 August. Cronenberg signs a dazzling illustrated subsidiary of his entire cinema. A journey to the end of the future. An odyssey into mutation, from body horror to body beauty.

Crimes of The Futurethe summa of David Cronenberg’s cinema

You know, in Cronenberg’s films, what counts above all is inner beauty, declined in all its forms, conjugated in every vice. So, the director imagines a future, not too far away, in which surgery represents the new sex. And it seems to see twins Beverly and Elliot Mantle’s Inseparable smile between a triple-forked uterus and a set of tools for operating mutant women. The steak teleported by Set Brundle in The fly it has the bitter taste of defeat in a world where humanity must survive in a synthetic environment. Nothing is forever, much less biology. And the luckiest (s) suffer from “Accelerated Evolution Syndrome”, while biotechnologies that seem to be upgrading the gamepod of eXistenZ. Why even in Crimes of the future “You have to play the game to find out why you play the game. It’s the future! “. But the videogame has given way to performance. Thus the artist Saul Tenser, with the complicity of the strong-willed Caprice, stages his own genetic alteration. The epiphany of the new flesh theorized in Videodrome shows up on a successful show. The removal of new organs is a spectacle for cultured and decadent voyeurs. Surgery modulates the artist’s pain in a society in which everything is anesthetized, bloodless, worn out. The scars longed for and revered in Crash they move to the next level. It is about mapping inner chaos, making sense of physiological anarchy, filling the emptiness of a body that wants to kill you. Tattooing a new adrenal gland is an aesthetic operation, a Picasso painting, a Duchamp sculpture, a Bacon triptych. But not everyone likes evolution, much less the art that power always wants aside. And watchful bureaucrats, along with mysterious government agencies monitor Saul’s performance with the aim of controlling mutations and removing, like a tumor, a probable rebellion.

The cast of the film: Viggo Mortensen, Lea Seydoux, Kristen Stewart

Crimes of the future he plays with oxymorons, conflicts, contrasts. It transports us to a world where it is possible to sleep in an “Orchibed”, a bed, similar to a uterus equipped with software to anticipate and regulate every bodily need, yet the folders with paper documents and squared filing cabinets continue to exist. iron. Between the infanticide with which the film begins and the autopsy with which it ends, the alpha and omega play hide and seek surrounded by rusty wrecks of abandoned ships. Between the two extremes Cronenberg delights us with lewd zippers placed on the abdomen and transformed into experimental erogenous zones and surprises us with the elegant dance of a man with sewn eyes and mouth, but with a body studded with ears positioned in the most unlikely areas. . For slasher lovers, there is also a pair of fatal killers prone to improper use of the drill on the human skull. In this coming Middle Ages, Viggo Mortensen stands out The promise of the murderer it has moved on to the promise of a better future for the human race. Afflicted by a perpetual hoarseness and a very dysfunctional swallowing, wrapped in a stylish cloak, the character of Saul seems to come from the trilogy of the Doctor Mabuse by Fritz Lang or dai Vampires by Louis Feuillade, brought back to life by the unmissable TV series Irma Vep. Once again Lea Seydoux shows all her talent in playing Caprice, a heroine overflowing with eros and thanatos (regardless of the film, her nudity on screen always dazzles for royalty and distinction). Even accessorized with bizarre protuberances on the forehead, a dutiful homage to the French performance artist Orlan, the actress manages to disturb, enchant and seduce. Last but not least, Kristen Stewart, after Spencer (film for which he would have deserved an Oscar) adds another interpretation to remember. In the role of Timlin, the employee who works at the National Organ Registry, Kristen gives us the portrait of an enigmatic and neurile woman. Those who continue to consider her only the Beauty of Twilight (moreover, a very dignified film character) should read the book by Alessandro Amato The diva who does not like: One no one hundred thousand Kristen Stewart, to understand how talented and original she is. Because if Cronenberg’s latest film reaffirms that the body is the last frontier, the last space in which to experiment, the means to become what we are, the choice of the cast is the necessary necessary condition for the work to function and fascinate. the public.

Crimes of the Futurethe naked meal is on the table

Of course, Crime Of The future it’s not a simple movie. On the other hand, no film signed by the director born in Toronto on March 15, 1943 is. Starting from the title, identical to the film he had written and directed in 1970, but with which he only shares the setting in a dystopian future.

It is necessary to indulge in vision, without prejudice and with the correct dose of suspension of disbelief. If you are intrepid and curious, the vision is a 360-degree aesthetic experience. An immersion in pure cinema between fear and desire. A work that opens a portal to our future. The representation of an unnaturally unnatural humanity. A terrifying and magnificent daydream. Finally, sealed by a long warm, intense, sensual kiss between Mortensen and Seydoux, (one of the most unforgettable of the last 20 years), Cronenberg brings the house specialty to the table. Off the menu, the meal, ça va sans dire, he is naked. And “the moment, frozen, in which you see what is on the tip of the fork”, to quote William Burroughs, offers us a synthetic purple chocolate bar. The last supper is served. The poison is transformed into medicine. What doesn’t kill us makes us stronger. Always if we are not already dead.