David Cronenberg Plays Unodnon Hits

The Pitch: In a near future world where pollution and technological advances are leading people to develop “Accelerated Evolution Syndrome” (i.e. the rapid development of new organs and body configurations) ), bodily changes are common and pain is almost a thing of the past. Save, it seems, for Saul Tenser (Viggo Mortensen), a celebrity performance artist whose gimmick is tattooing, then by surgical (and public) removal, the new organs created in his body in intricate showcases with his creative partner/likely beloved Caprise (Léa Seydoux).

He lived a life of constant pain, one with no number of bio -technological devices – floating orchid -like beds that clung to the fleshy strands of his branches, living on high chairs that shaking him as he ate breakfast so he could control his eating – maybe. appropriate comfort. But that pain, and the desire to remove it from his body, that makes him the best he can be, is a real artist in a world of faux-edgy poseurs who bravely fake ears themselves to achieve the same fame.

It also failed to attract other interested parties, from a pair of bureaucrats to the newly created National Organ Registry (Don McKellar’s ​​Whippet and Kristen Stewart‘s frazzled fangirl Timlin) to a detective (Welket Bungué) who uses him as a stool pigeon for illegal body modders. And it may bring Saul to his most ambitious performance, as a grieving father and activist (Scott Speedman) urges him to perform his next public autopsy on a corpse – the his son – promises to destroy Earth revelations for his audience.

The New Flesh Will Live, Like the Old Flesh: It’s a little lifelong statement to tell that terrible legend David Cronenberg no stranger to cinematic body horror: With films like Scanners, crash, Videodrome, The Fly, etc., the Canadian auteur almost wrote the carnal book on the rule of the genre. His dream-like films, wandering discussions of the blurred lines between man, animal, and technology, test the limits of what can be done in our cages full of blood and pus (and what what they can be ready for in the future).

Future Crimes no different, a welcome return to the filmmaker’s body-bending concerns that evokes his earlier fleshly reflections-even as it scrambles to find something new to say that he hasn’t had before.