| Director(s) | David Cronenberg |
| Principal Cast | Viggo Mortensen as Saul Tenser Léa Seydoux as Caprice Kristen Stewart as Timlin |
| Release Date | 2022 |
| Language(s) | English |
| Running Time | 107 minutes |
| Report Card | Click to go to Review TLDR/Summary |
NOTE: This is a new release and the review is based off a theatre viewing. This means the review won’t feature common elements like visual analysis, extended theme analysis, or long-form discussions of the cinematic techniques being used. Once I am able to get a copy of the movie to watch, pause, analyze, and get stills from the review will be updated to match the current site’s standard.
The title sequence opens on a canvas made of flesh which evokes the grandeur of the cosmos in the way its “markings” stretch across the screen. Skin is transformed into a metaphysically evocative work of art. This presence of the otherworldly within the human sets up the film’s fundamental question: what delineates humanity from that which it is not?
The answer to the question starts with a young boy, Brecken (Sozos Sotiris), fishing for materials on the banks of the ocean. These bits and pieces of non-organic junk are put in a bucket for storage. As Brecken engages in this task, his mother (Lihi Kornowski) yells at him to not consume any found material – a strange request given the nature of what he’s collecting.
Yet, her warning proves to be fruitful as it’s revealed that Brecken has evolved the capacity to consume plastics as easily as any other type of foodstuff. He sits in the bathroom and excretes an acid from his mouth and slowly chews a bucket sitting next to the toilet as nonchalantly as one would eat a sandwich at the dinner table; the perversion of the traditional eating situation – food being replaced with plastic and a dining area replaced with a bathroom – both confirms Brecken’s behavior while raising questions as to what it suggests: the ability to consume and digest plastics with ease represents such a significant difference from what humans are capable of that it raises the question of Brecken’s relationship to humanity.
His mother takes the transformation as proof of his inhumanity – the evolutionary deviation might as well render him a separate species as far as she’s concerned. Consequently, when he goes to sleep, she takes the opportunity to suffocate and kill him. Now the “creature” has been taken care of. She calls her crime in and coldly mentions that Brecken’s father can deal with the remnants of the monstrosity he bequeathed onto her.
But her disposition to evolution is challenged as the film cuts to Saul (Viggo Mortensen), a pained man, who wakes from a futuristic cocoon-shaped bed complete with tentacular hand-like appendages. He complains to his partner, Caprice (Léa Seydoux), that the bed is not regulating his pain properly and has to get a software update. He goes to eat sitting in a similarly alien chair with appendages that aids him in digestion, but just like with the bed, he struggles and is clearly uncomfortable.
The root of his discomfort stems from a new organ in his body; Saul is someone who’s particular condition causes him to grow new organs periodically which rupture his homeostasis with the machines meant to aid him. However, unlike Brecken’s mother, who takes significant deviation as a sign of an otherness which threatens to obliterate humanity, Saul and Caprice, take these evolutionary shifts as obstacles for humanity to overcome and make their own.
They treat Saul’s condition by removing the organs in live-shows that smash the medical and artistic into a single arena: surgery becomes performance art as Caprice rips into Saul’s flesh in a public arena to remove the effects of his evolutionary changes, thereby rendering both the surgery and the new organ as pieces of art. As she penetrates him, his face contorts in the throws of ecstasy. As the domain of flesh expands, as does the domain of surgery which now positions itself as the new sex. Thus, the evolutionary shift opens the space for new possibilities, allowing humanity to transmute itself through itself.
Both Brecken and Saul’s mutations are a result of Accelerated Evolution Syndrome wherein humanity finds itself quickly mutating in an increasingly ecologically desolate world. The pain thresholds common to persons have disappeared by and large, leaving humanity open to a more explicitly sadomasochistic relationship to their flesh. A desolate environment and the absence of pain render the site of the body the natural next location for investigation: humans turn to themselves as environments to navigate, to find meaning within as the outside world continues to shrink.
Yet, the shifting tectonics of the flesh threatens to rupture the paradigm by which humanity operates – the liminal points of the species are coming apart. As evidenced by Brecken’s mother, the cataclysms generated through evolution threaten to upend humanity all-together. Consequently, the future finds itself in a paradigmatic war to determine the points to suture humanity around. Saul’s unique condition places himself at the center of a network of parties desperately trying to set the syntax by which humanity defines itself. His shows with Caprice bring not only art fans looking to see the literal manifestation of artists reaching from within to create something spectacular but also extremists and government agencies who wish to use the platform to spread their own messages about what human normativity should be.
For director David Cronenberg, none of these questions are new: Crimes of the Future represents a return to the thematic investigations of his earlier body horror works à la eXistenZ. But this latest entry differs not in its manner of presentation, so much as the feelings it evoke in reference to the material. Cronenberg maintains his clinical precision in showing the flesh rendered, but attempts to place the viewer in the same mesmerized, painless state as the inhabitants of the film, showcasing gore and mutilation with such care as to render the grotesque mesmerizing. As organs are removed and examined, one can’t help but continue to stare at the screen as Howard Shore’s hypnotic electric score pulsates in the background inducing a meditative trance. Each cut brings with it not only artfully tempered gore but the opportunity to assess what our flesh and our relationship to it means and opens or closes us up to as a result.
REPORT CARD
| TLDR | Crimes of the Future sees body-horror master David Cronenberg back in more familiar waters as the story follows an humanity on the precipice of radical change as accelerated mutations in an ecologically compromised world have opened up the possibilities for what the species means and where it can go. The juxtaposition of the body against the fields of art, surgery, ecology, evolution, and politics makes the film’s gory spectacle all the more interesting and forces the viewer to navigate the fleshy contours that demarcate humanity |
| Rating | 10/10 |
| Grade | S |
Go to Page 2 for the spoiler discussion and more in-depth analysis.
Go to Page 3 to view this review’s progress report .
