Criticism: ‘Crimes of the Future’, by David Cronenberg – Juan Manuel González – Libertad Digital

As much as some of us prefer the horror sauce of his first titles to that layer of European “arty” abstraction that now runs through his filmography, we can affirm that the Canadian David Cronenberg delivery in Crimes of the Future a kind of return to its roots of bodily horrors and increasingly conceptual taboos.

Crimes of the Future it has all the concreteness and narrative precision of Cronenberg. I could say that this scalpel sinking into the flesh is not only a recurring image but also a procedure when it comes to telling their story, which is neither more nor less than that of two performance artists -or content creators, I wouldn’t care- who have turned the inside of their bodies into avant-garde works of art.

Crimes from the future requires a kind of leap of faith from the viewer, that of believing in the world in which Saul Tenser (Viggo Mortensen) and Caprice (Léa Seydoux) inhabit: a future in which human beings have begun to evolve by generating new organs. and internal systems, with surgeons erected as artists, who cronenberg turns here into objects of expression, into mcguffin of a highly symbolic suspense plot. One only has to unravel that parallelism for Cronenberg’s incorruptible directionality to come into action, turning Future Crimes into a film with an overwhelming logical development, a transposition that is also explained on stage: here there are no red carpets or large theaters but a group of artists who operate (never better said) in the secrecy of dilapidated warehouses, abandoned buildings.

It does not matter, that it does not matter, and to a similar extent that the gore outbursts of the film (some worthy of the saga saw) do not terrify as long as they are not acts of violence but expression, and fundamentally (“surgery is the new sex”) even love. Cronenberg sees the police thriller film as there is a murder to be solved, or rather to be deciphered, articulating Future Crimes as a sort of “how it was made” documentary of what should become Saul and Caprice’s masterpiece.

A Viggo Mortensen walking through the film as the Phantom of the Opera, or as Jeff Goldblum in The flybrings that flavor of entertaining and unpredictable B-movie to a movie with a world of its own, in which the movies are operations and mutations, and torture almost a sexual act. crimes of the future It is, believe me, a vitalist film about the creation (of life, death, art) and the very substance of reality of a guy -Cronenberg, 79 years old- who has already won everything in the industry and its margins and not need to be accountable to no one.

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