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Find out moreMay 2024, Cannes. The hall fills with applause as David Cronenberg's new film, Shroud, appears on the screen. This film tells the story of a widower struggling with grief and trying to come to terms with his loss. The director infused his personal experiences into this work, seeking to understand the tragedy he experienced—the death of his wife.
The film "Shroud" will be released in Russian cinemas on July 10. While we await its release, it's worth taking the time to reflect on this fascinating subject: film scholar Elena Bolotnova shares the story of how David Cronenberg went from a science student to an outstanding director creating works across various genres. She talks about the themes his films touch on, how to best perceive them, and what makes Shroud special.
- "Stereo": Telepathic abilities can be harmful to the body.
- "Cravings": Residents of a house are infested with parasites.
- "Reckless Crew": Famous drivers strive to regain their positions in racing.
- "The Brood": Cronenberg reflects on the process of divorce.
- "Scanners": Mutants that contribute to the development of society.
- "Videodrome": The influence of television on society.
- "The Dead Zone": A man who comes out of a coma begins to exhibit clairvoyance.
- "The Fly": An unlucky scientist faces a problem.
- "Dead Ringers": A visit to the gynecologist turns into a real nightmare for women.
- "Naked Lunch": Cronenberg adapts Burroughs's work for film.
- "Existenz": the boundaries between the real and the virtual are blurred.
- "A History of Cruelty": the desire to free oneself from one's past.
- "Maps of the Stars": Hollywood is destroying itself.
- "Future Crimes": mutations become a way of earning money.
- "Shroud": contemplating the dead brings peace.
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"Stereo"
Research into telepathy is being conducted in a laboratory. A group of young people decide to participate in a scientific experiment initiated by scientists. During the experiment, a team of specialists performs an operation aimed at reducing the participants' ability to verbally communicate while simultaneously enhancing their telepathic skills. However, such radical medical interventions also affect the psychological state: the subjects begin to show aggression.
Cronenberg originally conceived his first film as silent, but ultimately abandoned this idea, retaining only Black and white palette. The director chose a university campus, where he himself once studied natural sciences, as the filming location. This decision allowed him to create such realistic scenes of scientific experiments that the film began to resemble a documentary more than a science fiction film. In this academic context, Cronenberg actively explores the sexual revolution, which was relevant at the time. Furthermore, the theme of telepathy serves as a starting point for a discussion of how people hide their true feelings for each other.
In David Cronenberg's debut film, one can already discern his interest in psychoanalysis, which would later become one of the central themes of his work. Initially, the director intended to explore aspects such as human psychology, sexuality, and perversion, but he later delved into more specific questions—in particular, how copying and parasitism are natural to humans and how these strategies can be exploited for personal gain.
"Shudders"
Researcher Emil Hobbs conducts his experiments in his own home, located in a housing complex near Montreal. In the course of his work, he creates a genetically modified parasite that can influence human behavior, causing aggression and increasing libido. This parasite begins to infect the residents of the complex, and the first victim of the epidemic is Hobbs's lover.
The film "Shrinks" marked the debut of David Cronenberg in the genre of body horror. In this work, the director successfully combines all the main characteristics of the genre: reality, corporeality and experiments with physical forms. In this work, Cronenberg explores approaches to filmmaking, analyzing the boundaries of what is permissible and the importance of reflection and psychological depth in the narrative. As a result, "Shivers" became a model of exploitation cinema, but it was made with refined taste.
The film won the award for outstanding direction at the Catalonia Film Festival. Remarkably, the idea for this film came to Cronenberg after his visit to Cannes, where he realized that in order to successfully participate in major festivals, he needed to create a completely different kind of film.
The film was not ignored by critics: it was described as disgusting and depraved. As a result, such a storm of discussion arose that Cronenberg was evicted from his rented apartment, and the debate about the moral boundaries of cinema reached the level of the Canadian Parliament.
"Reckless Bunch"
Most recently, Lonnie and Billy were popular in the world of drag racing. However, their manager decided to part ways with them and offered a place on the team to their archrival, Harry Black. In response, Lonnie and Billy decided to race as independents. To do this, they need to find a suitable car.
This work of Cronenberg stands out from his other films. The director created a production drama centered on the intrigues of the world of auto racing, where each participant strives to take advantage of the prevailing conditions. Although Cronenberg would continue to make dramatic films, he is unlikely to achieve the same simplicity and appeal to a wide audience.
This film is particularly significant because "Reckless Bunch" marked the director's first attempt at using professional studio equipment. Previously, he had worked with more modest equipment, either his own or acquired with grants. This project also marked his first adaptation of another author's screenplay, making only minor changes. However, Cronenberg has always had an interest in mechanisms and racing cars, making this work a natural extension of his creative explorations.
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"The Brood"
Psychologist Hal Raglan developed an innovative approach to therapy that teaches patients to release repressed emotions. This is assisted by specialized bodywork practices known as psychoplasmatics. Raglan decides to use his experimental technique on a new patient, Nola Carveth, who is not only experiencing mental health issues but is also going through a divorce.
The Brood was Cronenberg's first attempt to explore his own experiences. The screenplay is based on his own experience: he went through a difficult divorce in which his spouses were dividing parental rights, which is reminiscent of the plot of his film. Of course, Cronenberg didn't have creepy dwarfs in real life, but the actors were chosen with the intention that they would resemble him and his ex-wife.
This deeply intimate story of Cronenberg was strictly censored to fit the R rating, but the result was even more unfortunate. For example, a scene in which Nola licks the newborn babies was cut from the ending. This scene created the impression of a mother cannibalizing her children, whereas the director intended to depict a tender unity, similar to the way animals lick their offspring.
Overall, the main impression of the film is created by the creepy dwarfs, although their role is not central. The main ideas of the film focus on issues of family and legacy.
At this stage of his career, the director begins to show a particular interest in painful themes. Cronenberg's approach, which earned him cult status, centers on the subject of illness. His works explore this theme in a variety of ways, reflected in all aspects of his work: from directing to cinematography to screenwriting. For much of his career, Cronenberg has focused on physical illness. For example, in The Brood, the characters' mental illnesses become the starting point for the plot, but the storylines soon regress to physical manifestations. As a result, his early works, as well as those that brought him fame, are primarily body horror films, where infection is perceived not as the end, but as the beginning of a process. These films should be understood from the perspective of those affected.
«Scanners»
Homeless Cameron Vale falls into the hands of agents of the ConSec corporation, which specializes in the development of security systems and weapons. Vale is of interest to them because he is a scanner - a person with unique abilities. These abilities allow him to read minds and exert psychological influence on people, even killing them using telepathy. The corporation claims that such individuals can bring social benefit if given the appropriate tasks. However, Darryl Rivock, the head of a secret organization, is of the opinion that the scanners should take over the world.
At the time filming began, the film had practically no finished script: David Cronenberg continued to write it Writing as I went, finding time between shifts. Some moments in the film allude to Jeff Lieberman's cult horror film Blue Joy. However, Cronenberg openly admitted to being inspired by Lieberman's work, so it's more a matter of influence than plagiarism. Despite production difficulties, the film won the Saturn Award for Best Foreign Language Film and Best Makeup, though it didn't win in the special effects category, which is disappointing, as many viewers remember the scenes with exploding heads. To create the effects, they used gelatin skulls, filling them with whatever was at hand: corn syrup, wax, latex scraps, and even burger scraps from lunch. There are rumors that Cronenberg also added real entrails to the heads. Upon its premiere, the film received positive reviews as a high-quality entertainment, but over time, it evolved into a genuine counterculture manifesto. Moreover, it can be seen as a counter-manifesto. Scanners is a warning about the possible consequences if the counterculture begins to dominate popular culture.
The film has several sequels and spin-offs: Scanners 2: The New Order (1991), Scanners 3: The Uprising (1992, which failed due to poor production quality), Scanner Cop (1994, a fairly successful exploitation film), and Scanner Cop 2 (1995). Interestingly, none of these projects were made under the direction of David Cronenberg; they were all made by other directors.
In the mid-2000s, the idea of updating the Scanners universe began to be actively discussed. Director Darren Lynn Bousman, known for several "Saw" films, was set to direct the remake, and screenwriter David S. Goyer, known for "Blade," was attached to write the script. However, Cronenberg declined to participate in the project, and without his approval, no one wanted to proceed. Several attempts have subsequently been made to revive the story as a series, the latest of which was announced in 2022 by HBO with Cronenberg himself involved.
Videodrome
Max Renn is constantly searching for new programming for his channel. One day, while accidentally switching channels, he stumbles upon a show called "Videodrome," which resembles a snuff film more than a traditional television show. Obsessed with tracking the broadcast signal, he begins rewatching the episodes. On the screen, he sees scenes of endless torture and murder, and gradually Max begins to lose his mind. He doesn't yet suspect that this show is destroying not only his psyche, but also his physical health.
Like many other works by David Cronenberg, "Videodrome" faced censorship restrictions. Some scenes written for the film were never included in the final version. The director himself considers the first screening a failure, as the Motion Picture Association and producers repeatedly insisted on removing certain scenes, which negatively impacted the plot's reception. This was expected, as the film at a certain point transforms from a detective story into a work with elements of violence. Cronenberg was even threatened with a triple X pornographic rating, although there are no explicit scenes in the film.
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"Videodrome" is not only David's reflection Cronenberg's work on the essence of perversion and sexuality, but also a visualization of the concepts of Marshall McLuhan, a media theorist who predicted the emergence of the internet three decades before it actually emerged. Although McLuhan worked at the University of Toronto, where Cronenberg studied, there is no evidence that the future director attended his classes. However, it is safe to say that he was familiar with McLuhan's books: the image of Professor O'Blivion, the program's host, clearly alludes to McLuhan himself. Psychoanalysis is certainly not absent from Cronenberg's work. The director has always shown an interest in the concepts of Freud and Lacan, particularly in the context of the relationship between the psychic and the physical. While the influence of these ideas can be discerned in the background of Stereo, in Videodrome they take center stage. Lacan discusses the existence of organs capable of threatening the integrity of the body, and in Cronenberg's film, a videotape made of flesh "hacks" the body of the protagonist, Max Renn. These "unusual objects" presented in the director's works relate to the concept of objectivity in psychoanalysis, which implies the possibility of establishing connections with objects beyond the psyche. For Lacan, objectivity does not fit within the framework of the technical or biological, so Cronenberg's films often blur the boundaries between the bodily and the technological—for example, in the possibility of uniting a producer with a videotape.
The theme of private television channels broadcasting shocking and immoral material is a frequent one in Cronenberg's work. It was first touched upon in a draft of the script for "Network of Blood," written in the 1970s, and subsequently formed the basis for an episode of Peep Show entitled "The Victim," which aired in 1977. As a child, Cronenberg was terrified when Canadian television went dark, leaving only signals from American channels—he feared stumbling upon something inappropriate. And not without reason, as some American studios, such as City-TV, did indeed broadcast adult content, which became the prototype for the channel in the series.
Videodrome demonstrates that by the 1980s, David Cronenberg had developed a consistent set of themes and techniques, as well as a preferred style: body horror. Mutation motifs, unusual biotech constructs, and elements of psychoanalysis, which had previously appeared only sporadically in his works, now become central to the plot. However, these films are not boring or drawn-out: the director masterfully combines entertaining moments with allegorical scenes and, of course, resists censorship—everything possible is cut from his films with surprising persistence.
"The Dead Zone"
Johnny Smith regains consciousness in a hospital room after five years in a coma caused by a serious accident. During this time, many have lost hope for his recovery, and his one true love, meanwhile, met another man and got married. Now Johnny must relearn even the most basic skills. He will need to adapt to a changed world, as well as to his unexpectedly discovered clairvoyant abilities. Can they help him foresee the future or, on the contrary, will they lead to tragic consequences?
The film "The Dead Zone" is based on the work of the same name by Stephen King. The adaptation's screenplay was written by Jeffrey Boam, who worked under director David Cronenberg. The director insisted on making significant changes to the original text, allowing for a more organic adaptation of the story for film. As a result, the script underwent numerous transformations. For example, the character of the main antagonist, Gregory Stilson, appears only in the final scene of the film, while in the book he is present from the very beginning. Moreover, in the novel, the protagonist, John Smith, is diagnosed with a brain tumor, but this plotline is completely absent from the film. Interestingly, The Dead Zone was the first film whose script Cronenberg did not edit himself, although his directorial vision had a significant influence on the plot development.
The premiere of The Dead Zone foreshadowed serious difficulties. Initially, it was planned to be presented at the Toronto International Film Festival, but Paramount, the studio producing the film, decided to exclude it from the program, fearing negative reviews. As a result, the film's further promotional campaign never took place—studio management became embroiled in a financial fraud scandal. Ultimately, David Cronenberg, the film's director, personally organized a month-long screening of the full version of the film in Toronto theaters. The studio's expectations were not met - "The Dead Zone" is deservedly considered one of the best adaptations of Stephen King's works and a striking example of Cronenberg's mastery in combining various genres.
"The Fly"
Seth Brundle is a scientist who is passionately interested in teleportation. He develops a network of telepods—devices that enable travel between different devices. Initially, he succeeds only in teleporting inanimate objects, but soon discovers a way to adapt the technology to living organisms. The first experiment with a baboon goes flawlessly, and Seth decides to try teleportation on himself.
Only one item needs to be moved to complete the process successfully. Unfortunately, a fly accidentally caught in the flask also ends up with Seth at the moment of teleportation.
The story is inspired by the short story "The Fly", which is probably the most famous work of the French author Georges Langelan. Before Cronenberg unveiled his interpretation in 1958, the same story was adapted for the screen by Kurt Neumann, a renowned master of genre cinema.
Like its predecessor, Cronenberg's The Fly revolutionized body horror. The film won an Oscar for outstanding makeup and three Saturn Awards. In this work, the director continues to explore the vulnerability of the human body, which can be destroyed or mutated by the slightest mistake. Natural aging and diseases such as AIDS also lead to death. This is clearly demonstrated through the changes that occur in Seth's body: he loses hair and nails, experiences weakness, and faces problems with coordination.
The film's ending presents a separate mystery. The director created an alternative ending in which Seth's character wakes up in bed with her ex-partner after a nightmare in which a butterfly child emerges from a cocoon. What meaning was Cronenberg trying to convey in this version? Perhaps we would have found an answer to this question if a remake had happened. In 2009, the director considered creating a new interpretation of this story, but this project never came to fruition.
Dead Ringers
Elliot and Beverly Mantle are twins who share one life. Both work in a gynecological clinic: Beverly focuses on scientific research, while Elliot is more involved with communicating with clients. However, the situation changes dramatically when actress Claire Niveau, experiencing fertility problems, is admitted to the clinic. She begins to show a special interest in Beverly, which could threaten the fragile balance between the brothers.
In 1977, a novella by Bari Wood and Jack Gisland was published under the title "Twins," based on the true story of the Marcus brothers, who were found dead in an apartment. David Cronenberg and screenwriter Norman Snyder used this work as a reference when developing the story about the Mantle brothers. Initially, Robert De Niro was considered for the roles, but he declined due to his aversion to gynecological themes, and William Hurt, who was wary of playing two roles simultaneously. Ultimately, the role went to Jeremy Irons, and the film still holds a special place in his career.
There were some scenes that were cut from the final version: in one, an elderly-looking twin emerges from his belly. Cronenberg himself decided to remove this scene after test screenings. This made the film more of a thriller than a body horror film: reviewers emphasized the tension that persists throughout the narrative.
The film is currently being criticized for its depiction of a gynecologist's work. The doctor exploits women's vulnerability by engaging in romantic relationships with them, a clear violation of professional ethics. The film becomes a nightmare for any patient: the protagonist finds herself in a situation where her vulnerability is exploited by the person she depends on. Cronenberg typically includes scenes of medical examinations to evoke discomfort in viewers. For example, a similar technique was used in the public examination scene in his film Cosmopolis. For women, such moments are particularly painful, as the medical examination can symbolize sexualized violence. It's especially noteworthy that 35 years after the original, a television remake was created, starring actress Rachel Weisz.
"Naked Lunch"
Bill Lee has a dangerous and thankless job as an exterminator. The chemicals he uses have a negative impact on his health, and at some point, Bill loses the ability to distinguish reality from delusion due to exposure to toxins. In this new hallucinatory reality, he becomes a secret agent, surrounded by terrifying creatures, and his orders come from a boss in the form of a beetle.
"Naked Lunch" Cronenberg is a landmark adaptation of one of the central works of the Beat Generation. The film is a shining example of the director's style, which is fundamentally close to the ideas of the Beats. Moreover, during the adaptation, Cronenberg collaborated with the author himself, William Burroughs. Burroughs initially feared that adapting his novel would be impossible, as its distribution was banned in several countries. However, Cronenberg managed to overcome this challenge by selecting one of the storylines and enriching it with biographical elements from the writer's life. The result is a rather free interpretation, which, nevertheless, perfectly conveys the atmosphere and spirit of the original.
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Despite the fact that the film has won numerous awards and is considered a striking example of surrealist cinema, its The box office grossed only $2.6 million against a budget of $17 to $18 million. This failure is explained by the limited distribution and the peculiarities of the original work: the novel, containing ethically questionable moments, was subject to bans, was published with fragmentary translations and in limited quantities, and the price for it was often inflated to reduce demand.
«ExistenZ»
«ExistenZ» is the newest game in the virtual reality, allowing players to connect directly to it through a special connector in their body. The developer of this project is Allegra Geller, a recognized leading expert in organic gaming. During a presentation of the game, she is attacked, and Allegra rushes to escape the scene with her intern Ted, who managed to protect her at a critical moment. Their path runs through the world of virtual reality, which is sometimes difficult to distinguish from the real one.
Despite the fact that the plot focuses on the integration of the human body with virtual space,
Basically In David Cronenberg's science fiction film, themes of corporeality and physiology lose their significance. "EsistenZ" is based on the director's original screenplay, his first since "Videodrome." This film ushered in a new subcategory of cinema—biopunk—and had every chance of becoming a significant sci-fi event of 1999. However, fate decreed otherwise: "The Matrix" won the Saturn Award for Best Science Fiction.
From the very beginning of "EsistenZ," the key question becomes clear to the viewer: what is truly real? The narrative begins to bifurcate from the very first minutes, and it becomes difficult to discern the line between life and play. However, Cronenberg doesn't directly answer this question; instead, he introduces new ones, thereby creating additional layers of complexity in the plot.
The film "Existenz" marked the end of David Cronenberg's horror output, as he made no films in the genre between 1999 and 2022. Although the director continued to discuss the theme of illness, the focus now shifted from physical ailments to the ills of society, including all its complexities and anomalies. Nevertheless, Cronenberg once again addresses the issue of social breakdown, using it as another way to explore his favorite theme: what does it mean to be human?
It is possible to examine social ills through the prism of horror, although this is not always obvious. Although this genre was originally based on allusions to serious problems, its symbolism currently does not fit well with the frank manner of social cinema, which sometimes leads to unnecessary tension. Perhaps this is why Cronenberg decides to break away from the familiar confines of his genre. However, even as he moves between thriller and melodrama, he maintains his skeptical and realistic approach: his works are taken literally and directly, without sophisticated expressions or false hopes.
"Necessary Roughness"
Tom Stoll lives in a modest town in Indiana, where he has a loving wife, two children, and his own establishment – a diner. One day, when criminals break into his diner, Tom kills them with an accidental shooting and becomes a true hero in the eyes of the locals. However, after this incident, he begins to be perceived not as an ordinary neighbor, but as a frightening authority.
In his film "A History of Violence", David Cronenberg offers a unique interpretation of the superhero theme, combining it with elements of crime drama. At the time of the film's release, this was a fresh and unusual approach that had not been attempted before. The adventures of the protagonist, Tom Stoll, were first introduced in comic books published by the Vertigo imprint, which is owned by the American publishing house DC Comics. The screenplay for the film was adapted by Josh Olson, for which he received an Oscar nomination.
In the comics, the main character is an ordinary family man whose life unexpectedly changes beyond recognition. However, in Cronenberg's interpretation, the emphasis shifts from the criminal aspects to internal experiences and the drama of the search for self. The question of how a person with a dark past can change and how he copes with the threat to his loved ones becomes key for Cronenberg. His hero, Tom Stoll, strives to start a new life, but is afraid that he will not be accepted in this new reality.
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The Psychology of Horror: What Makes Us Enjoy Fear
The horror genre, which often evokes strong emotions in viewers and readers, has its roots in human psychology. Many people wonder why we enjoy experiencing fear. One reason is that fear activates certain mechanisms in our brain, causing a release of adrenaline. This hormone, in turn, leads to increased energy levels and an improved mood after a frightening experience.
Furthermore, horror art allows us to explore the boundaries of our perception. We can encounter what frightens us in a safe environment. This creates a sense of control: we can "immerse ourselves" in the fear and at the same time know that we are safe. This paradox is attractive to many people, providing an opportunity to experience thrills without real danger.
Also, we must not forget the social aspect. Watching horror films or reading scary stories together creates a special atmosphere of unity. People share their emotions, which helps strengthen bonds and create shared memories. This element of shared fear can be very appealing, as it strengthens a sense of group belonging.
Thus, our fascination with horror works is explained by many factors - from physiological reactions to social interactions. We're not just afraid; we find it an experience that can be both fascinating and unifying.
"Star Map"
Dr. Stafford Weiss decides to commit his daughter, Agatha, to a psychiatric hospital. After her discharge, Agatha returns to Hollywood, where her father lives with his wife and son. She finds work as an assistant in a neighboring building owned by actress Havana, also a patient of Dr. Weiss's. Family conflicts are once again on the horizon.
In his new project, Cronenberg tries himself in the genre of satire for the first time, and this experiment turns out to be successful. In the film, he skillfully weaves lines from Paul Éluard's poem "Liberty," a symbol of French liberalism, into the stories of people trapped by their own ambitions and addictions. This leads to an ironic reflection on the nature of modern Hollywood: the characters' daily lives seem so absurd that it's hard to believe they exist. The director clearly shifts the focus to those who strive for fame at any cost, something alien to him. Cronenberg always made his films primarily for the sake of art, not commercial success, and carefully selected actors who shared his views. "Maps to the Stars" marked the director's debut film shot on American soil. Cronenberg, a native of Canada, typically prefers to work on his native soil. Even when he longed for a change of scenery, something always got in the way, and filming ultimately took place in Canada. For example, while preparing for Naked Lunch, Cronenberg dreamed of traveling to Tangier, but the team ultimately had to stay in Toronto to complete the project.
Maps to the Stars premiered at the Cannes Film Festival to mixed reviews. Many noted the wit with which David Cronenberg comments on the world of cinema. However, a number of reviewers felt the film fell short of expectations: they found the humor lacking and the satire insufficient, questioning why Cronenberg chose such an unusual genre. However, his experiment was undoubtedly successful—the resulting satire on Hollywood was truly terrifying.
Maps to the Stars was David Cronenberg's last film before his lengthy hiatus: he released no new works between 2014 and 2022. This period of time marked the longest in his career without creative activity, as he had previously regularly delighted audiences with at least one film every few years. The reasons for this lull were not only personal but also tragic: during this period, his wife, Caroline Zeifman, became seriously ill and, sadly, passed away in 2017. Cronenberg was able to return to cinema only in 2021.
"Crimes of Tomorrow"
The world of the future is consumed by biotechnology, and mutations have become commonplace. Humanity, having undergone various modifications, is experiencing the consequences of what's known as "accelerated evolution syndrome": people suddenly develop new organs, while old ones undergo changes. The incidence of such cases is steadily increasing, and enterprising citizens have already found ways to profit from this situation. A performance artist named Sol Tenser organizes performances in which he removes his growths in public. He is assisted by Caprice, his partner, who was a former surgeon.
After the film's premiere at the Cannes Film Festival, many exclaimed with relief: "Wow!" David Cronenberg returned to what brought him the greatest popularity – body horror. While "slow" horror films continued to dominate festivals, the return of this genre legend was a real find and inspiration.
According to experts, the modern horror industry is experiencing serious difficulties. Initially, it was overwhelmed by similar stories about survival, which led to some audience fatigue. Then post-horror films entered the scene, but their popularity is limited mainly to festival audiences and viewers with little experience in this genre. Horror fans strive to see truly creepy films full of blood and impressive screams, rather than complex metaphors and philosophical reflections. In this context, one can explain the return of Saw, the success of the Frightening saga, and the general excitement about the revival of classic body horror.
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In 1970, David Cronenberg introduced audiences to his The film "Crimes of the Future," which also explored the theme of human mutations. However, the two films differ significantly. In the 1970 film, the monsters appear only in episodic scenes and have no significant impact on the plot. In contrast, in the film released 23 years later, bodily changes become a central element of all events. Interestingly, Cronenberg began writing the script for the new film back in 1998—the period when he was creating his most famous action films. All this work remained unused, biding its time.
The film "Crimes of the Future," released in 2022, vividly reflects David Cronenberg's style: against a backdrop of unusual bodily transformations, the characters are immersed in reflections on the meaning of life and human nature. However, this time, the director showed greater restraint in his approach to body horror. While he previously sought to shock his audiences and was surprised when distributors removed scenes he considered acceptable, the level of horror in "Crimes of the Future" was significantly lower—it seems the film was made with the Cannes Film Festival in mind.
"Shroud"
Entrepreneur Karsh founded GraveTech to support those grieving the loss of loved ones. He developed an innovative shroud that creates 3D models of the deceased. This allows loved ones to monitor the condition of the body in the grave through a special app or through a tombstone. Karsh used a similar shroud to keep his wife, who passed away after a long illness. However, one day, an act of vandalism occurred at the cemetery: the graves were destroyed, and the application providing access to information was hacked.
"Shroud" became the first film whose script was written Cronenberg's work after the loss of his wife proved to be extremely personal and profound. Although this isn't the director's first foray into autobiographical filmmaking (The Brood can be considered a predecessor), this is the first time he's tackled such intimate themes. In 2022, Cronenberg announced his new project, which he intended to explore eschatological questions about what remains after us. Initially, plans included a series in collaboration with Netflix, but he decided to change direction and focus on a feature film. Savannah intersects various conspiracy theories, reflections on the death wish, and unusual technological innovations that distort the perception of the physical body. It seems that Cronenberg has collected all of his favorite themes in this work. For example, he had already explored the attraction to a dying spouse in his 1996 film Crash. Now, the viewer seems to be immersed in Cronenberg's own mind, as the main character, Karsh, is a reflection of him. Thus, as an atheist, the director attempts to find an alternative to the traditional religious reunion with loved ones in the afterlife.
For many viewers, the film proved remarkably similar to the director's earlier works. While "Crimes of the Future" gave the impression that Cronenberg was working on autopilot, he certainly invested his energy and soul in "Shroud." Nevertheless, Cronenberg himself, as he himself noted, felt unsatisfied with the film's release. Let's hope he will delight viewers with new projects, because 82 years is a great time for new achievements.
