Surgery is the new sex


While some of us prefer the salseo-horror of his first films to the layer of European “artistic” abstraction that now permeates his filmography, we can argue that the Canadian David Cronenberg delivery to Crimes of the future a sort of return to its roots of body horror and increasingly conceptual taboos.

Crimes of the future it has all the concreteness and precision of Cronenberg’s narrative. I could say that this scalpel plunging into flesh is not only a repetitive image, but a procedure when it comes to telling its story, which is nothing more and nothing less than the story of two performance artists – or content creators, I would say. — who turned the insides of their bodies into avant-garde works of art.

The crimes of the future require from the viewer a kind of leap of faith, faith in the world in which Saul Tenser (Viggo Mortensen) and Caprice (Lea Seydoux) live: a future in which people began to develop, creating new organs and internal systems, and surgeons were erected as artists , which Cronenberg Here he becomes the object of expression, the MacGuffin of a highly symbolic suspense plot. One has only to unravel this parallelism for Cronenberg’s incorruptible direction to come into play, turning Crimes of the Future into a film with a stunning logical development, a transposition that is also explained on stage: there are no red carpets, no big theaters, but a group of artists who work (pun intended) in the secrecy of demolished warehouses, abandoned buildings.

It doesn’t matter, it doesn’t matter, and to the same extent as the blood explosions in the movie (some decent sagas Saw) do not frighten as long as they are acts not of violence, but of expression, but in essence (“surgery is the new sex”) even of love. Cronenberg dresses up a cop thriller as long as there’s a murder to be solved or rather deciphered, phrasing Future Crimes as a kind of “how it was made” documentary about what should be Saul and Caprice’s masterpiece.

Viggo Mortensen walking through the film as the Phantom of the Opera or Jeff Goldblum in Flygives that touch of entertaining and unpredictable series B to a movie with a world of its own, in which the movies are operations and mutations, and almost sexual intercourse torture. crimes of the future this is, believe me, a vitalistic film about creativity (life, death, art) and the very essence of reality from a guy – Cronenberg, 79 years old, who has already won everything in the industry and its marginals and you need to be accountable to no one.




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