Review: The Pain and Beauty of “Crimes of the Future”

The pain, in fact, remains in the past for some in David Cronenberg’s “Crimes of the Future,” …

The pain is essentially a thing of the past for some in David Cronenberg’s “Crimes of the Future,” a dense, beautiful, and grotesque meditation on bodies, creation, and art. However, suffering is still alive and well, and everyone is struggling with the grandeur of the fact that human evolution has “gone wrong”.

When all is said and done, it may be more mysterious than enlightening, but it is definitely a uniquely exciting experience with insane works, interesting performances, challenging ideas and one of the best scores of the year.

Cronenberg, whose name is forever destined and doomed to be mentioned every time a filmmaker tries to include “horror for the body,” went viral for a comment in which he predicted that some people would leave the film within the first five minutes. . He clarified that he did not mean every audience, but just a festival audience looking for parties that were either unfamiliar or did not want to be open to his work. However, this is such a provocative comment that seems bold and should not be taken lightly by the person who made “The Fly”, “The Accident” and “The Videodrome”.

And indeed, in the first five minutes something quite disturbing happens. But the way he portrays a horrific act is done with enough seriousness to dispel any fears about what he has for operational shock. It just makes you wonder where it’s all going. And this is helped by the sad, masterful score of Howard Shore.

This is a world where bodies are mutated. Vigo Mortensen, who plays Solo Tensor, regularly forms new and new organs. Instead of simply removing uninvited guests at the hospital, he and his partner Caprice (Leo Seydou) turned it into an opportunity for performance. Invasive surgery and pain management have become things that people do themselves, using their own alien-like machines that hold and manipulate your body and anticipate pain.

Caprice’s operation Saul is a public spectacle, full of meaning and metaphor. His extracted organs become models for demonstration.

And it’s not as repulsive and punishing as it might seem – take it from this extremely nasty critic who came in with an empty stomach, preparing for the worst. It could also be very horrible: blood and scalpels, flesh on hold (Mortensen’s torso almost deserves attention), cuts in abundance, pulsating organs, vomiting, drills, purple vomit, muddy saliva and a man with ears all over his body performing a modern dance. But, like the first five minutes, “Crimes of the Future” doesn’t seem to have been created to shock and disturb. Cheap thrills for beginners. Cronenberg has things he wants to say: about art, about pain, about self-sacrifice, about evolution, about creativity, about ethics, about sex and about beauty.

Caprice and Solo revolve around many plots and conspiracies, including a new secret government department called the National Register of Bodies and two eccentrics (Kristen Stewart and Don McKellar) who work there. The obedient and low-voiced Timlin Stewart, whom Caprice calls “especially awful,” becomes a lustful superfan after watching their show. There are some amazing technicians played by Tanya Beatty and Nadia Litz, and a grieving father (Scott Speedman) of a dead boy hiding behind their show, and a detective (Welket Bunge) who adds an element of noir to the process.

While I’ll never blame the film for what it thinks a lot, “Crimes of the Future” also often feels like it’s about everything and nothing. It can be quoted endlessly, and it is difficult to fully digest in one sitting.

“Crimes of the Future,” a neon release in theaters on Friday, received an R rating from the American Film Association for “strong, disturbing, violent content and horrific images, nudity and some expressions.” Duration: 107 minutes. Three stars out of four.

MPAA Definition R: Limited. Accompanying a parent or adult guardian is required before the age of 17.

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