Film Criticism of "Future Crimes"; Cronenberg returns to the horror genre (Cannes Film Festival 2022)

David Cronenberg's latest Film "Future Crimes" is a horror Film in the subgenre of physical horror, which, although similar in title to one of the director's previous films, It is not a remake of the film, and this year it was screened at the 75th Cannes International Film Festival.

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Future Crimes is Cronenberg's first return to the horror and science-fiction genre since the release of Existenz in 1999. In Future Crimes, humans adapt to new genetic mutations and mutations in a synthetic environment. Famous artist Saul Tenser and his colleague Caprice show their metamorphosis in avant-garde performances in public. Meet. A total of 22 reviews collected on the Metacritic website with 13 positive reviews and 9 mediocre reviews recorded a meta score of 69 out of 100 for this film. Also, the total of 47 reviews on Raton Tomitoz's website reflects 83% of the critics' satisfaction with this work.

The screen critics of Screen Magazine are also positive about future crimes, and the Film is rated 2.6 out of 4 in the range of mediocre (two stars) to good (three stars). Of the screen critics, one was rated excellent by one Film critic, four by critics, and five by critics; The Film did not receive any mediocre reviews.

Criticism of Future Crimes h2>

Variety - Owen Gleiberman

Most filmmakers who want to impress an audience in a horror Film resort to a set of familiar tools: psychics who hurt others physically, demons, editors. Shocking and surprising, text music that suddenly roars. But in "Future Crimes," writer and director David Cronenberg intends to confuse our minds with something far more damaging than just monsters.

I'm talking about the fact that in the distant future, at some point Narrated by the film, humans develop mysterious new organs in their bodies. Surgery to remove those limbs has become a form of performing art for a rebel artist named Saul Tenser (Viggo Mortenson), people no longer experience physical pain and therefore stay up late to the streets to access exciting experiences. They cut each other's limbs cheaply, as ordinary as if they were injecting heroin in the back alley. Watching it is essential for its fans. Manifesto is one of the Canadian director's constant preoccupations; The works for which he has rightly been most admired; In particular, the world of works such as "Dead Ringers", "Crash" and "Naked Lunch" overshadowed the film's perspective from the future.

Cranenberg again Carol Spire, the producer of those films (and all her other work) has collaborated and the result is a Film that seems to bring us back to her mind. The Film is calculated and consciously made (against the source of the subconscious) but it is not fruitless and fruitless. It's annoying, but it has more to do with the fact that it's really scary. ) Has. "Future Crimes" was then a work that predicted the future, but now it is the future that has arrived. This may disappoint Cronenberg's new audience, but it will please old fans alike. Viggo Mortenson plays the lead role and plays well. He is terribly reminiscent of Peter Weller in "Naked Lunch"; The two films have a lot in common in terms of the existence of horror inanimate objects. Art space is guaranteed. The presence of Christine Stewart may increase interest in the film, although her anxious short presence is not an example of the best performance of her career.

The same is true of the production designers who collaborate with these artists; Cronenberg is definitely one of them.

Guardian - Peter "Let us not read anything in an age of natural bloody confusion," Brecht said. After watching this movie, everything looks bloodier and even more chaotic than before. David Cronenberg's new Film in the Cannes Film Festival competition section, "Future Crimes," is a demonstration of atrocities in the Ballard-style subgenre of physical horror (a genre attributed to English novelist JJ Ballard), which he exemplified in "Accident." Crash) was also offered; A Film about the secret cult of those who have dedicated their lives to the erotic dimensions of traffic accidents. They are on the threshold of the posthuman evolutionary stage. Advances in medicine and the elimination of pain have reduced physical emotion to such an extent that pain is no longer a concept of the past, but conventional sensory pleasures, along with the disgust and fear that have always moderated human behavior, are disappearing. On the other hand, the bodies themselves have been shown to be able to grow new organs; Organs whose function is not yet clear.

Source: hollywood reporter