July 5, 2022

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Review | ‘Future Crimes’ – Knowing Beyond Pain

3 min read

In a world without pain, David Cronenberg hopes to return to fear.

His first film since 2014 and his first body-horror since 1999 “Existence,” Kronenberg is back to its roots once again. Set in a not-so-distant future, the famous director envisions a world where humanity has polluted and polluted the environment where organic machines are needed to stimulate and regulate basic bodily functions. But that is not all.

Future crimesIntroduces viewers to a world without pain – which disappeared long ago with infectious diseases. A place where celebrities like Saul Tensor (Viggo Mortensen) and his partner Capris (Leia Sedoux) experiment on their bodies in front of a terrifying art scene.

The canvas of Caprice’s brush, a condition known as Accelerated Evolution Syndrome, causes tumors to grow in his body. These bizarre organs are then tattooed and removed directly from the audience by capris in warehouses and basements – an underground reference Performance art scene 70s and 90s. At this point, attendees are amazed at the pair’s talent, as if it were Picasso or Warhol’s second arrival. This performance gives birth to deep-seated bodily desires in the minds of emotionless masses and many are seen as sexual, bodily acts.

The world of Kronenberg is like ours and different, filled with rubbish paved roads, people and murals, and where dilapidated boats sleep forever on its shores and grow like plastic sand. Homes are sparsely decorated and unlit, reminiscent of a war-torn world. Even official government offices are a bit more than the usual dust-covered cartoons.

Technology, likewise, is alien. Machines made from bones and organic matter help people to chew their food by mixing wires and buttons, making it easier for them to digest. Beds hung from the ceiling and attached to the body with almost live cables ensure proper and restful sleep. Hundreds of people come to see the strange bones with scalpels and clamps in their hands for surgery.

On the surface, “Crimes of the Future” seems selfish, a film that seeks to make the audience cringe in their place, and a man with a deaf ear dances. But the movie “HellraiserWith science fiction elements. Instead, the question arises as to how far mankind will go to suppress evolution, not just to deny it.

This question is asked at the beginning of the film, although the audience may not like the initial answer that results in blood and surgical performance lines. While the rest of the world is having fun with pain, there are people who seem to have changed. Developed in such a way that it can only be described as revolutionary, even as necessary. And yet, they are hunted down by a mysterious government police agency, represented by Detective Cope (Velket Bungue), who tries to destroy them.

The film, which airs in just 107 minutes, is inspired by the spectacular performances of anxious bureaucrats Mortensen, Sedox and Kristen Stewart for the agency, known as the National Organ Registry. Mortensen in particular gives life and dimensions to a complex character who lives a kind of double life and feels inconsistent with his art and fascinated by its dangers. Even minor characters like Technician Burst (Tanya Beatty) and Breaken (Sozos Sotiris) shine in a weird and almost lustful way about the technology they are repairing. In fact, it is this commitment to the world that makes the film special.

Despite the state of the world and the general feeling of desperation, Kronenberg’s film is surprisingly promising. Like his past actions in exploring the body’s insecurities, “Future Crimes” explores the familiar ground but ends without the usual depression. Instead, Cronenberg ends the film with a psychic experience, rather than a bitter screen, which reaffirms Mortensen’s acting talent and ability to tell the raw story of the now 79-year-old director.

After all, “future crimes” may not be for everyone. The violent and restless pleasures that the characters enjoy in their actions are not for the faint of heart or for the casual ways in which they treat their bodies. But for those who can tolerate these horrific scenes, there is an inherent beauty – an emotional and tender story about human relationships, both material and beyond, that begs to be seen and appreciated.

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