Crimes of the Future features tremendous world-building and concepts, but is incomplete in its narrative. In addition to prompting one to fill in the pieces that led to this world, there also is a sense that there is more to say about characters and the world that is depicted. Those who love Cronenberg's past body horror outings may very well forgive the film's shortcomings, especially given the following vivid perspectives fully on display:
1. Evolution is rapid. Human bodies are changing in our world, but writer/director David Cronenberg further accelerates this timeline. Examples include interior changes in the body, from growth of new organs to altered gastrointestinal tracts. There are much softer current-day precedents for these concepts (just two examples include changing waist-to-hip ratios in females and lower testosterone levels in younger males) - with these and likely those in the film speculated as related to changes in sleep/exercise/diet/environment. The extreme examples in the film are presented as social commentary in the form of body horror, as this is a format with which Cronenberg feels very much at home. I do like how the horror is presented in two ways: visually, and through the discussion of the fear that humans may branch off into separate subspecies.
2. People are restless. Although there is no reference to the internet or social media in the world presented in Crimes of the Future, there is heightened interest in displaying changes in the human body in order to both grab attention and to feel a greater sense of personal fulfillment. Technology AND evolution have both fostered these innate and selfish desires.
3. People in the society depicted in the film are not easily shocked. Although the threshold to accept previously unacceptable behaviors has attenuated in our culture (at least in the First World), The Crimes of the Future's world is on another level. Many examples abound, but the following stand out: a. A child is murdered by his mother, and there is surprisingly little visible repulsion by those who are aware of the act.
B. Said child undergoes a public autopsy, with body entirely uncovered and displayed from the outset, and then abdomen is open for attendees to see internal organs. Laws preventing this activity, if at all present, are not enforced. In this dystopian future, characters reference that law enforcement and governmental agencies are not to be trusted, with characters linked with both fringe and governmental agencies accordingly shown to be unethical. This plays off of a theme that has been debated in recent years.
David Cronenberg constructs a world with some uniquely horrifying characteristics, and the superb performances by this cast accentuated by a top-flight production design and Howard Shore's haunting score, all beautifully tie together the film. As above, and with other reviewer's comments thus far, various narrative aspects appear incomplete. It would be interesting to follow up these and other themes presented, and see where they go in a sequel - with even some backstory added in order to help understand how humans reached the point depicted in Crimes of the Future. Although he has not done this in the past, and time may be running out in his creative life at the age of 79, more information with another installment would very much be welcomed.
1. Evolution is rapid. Human bodies are changing in our world, but writer/director David Cronenberg further accelerates this timeline. Examples include interior changes in the body, from growth of new organs to altered gastrointestinal tracts. There are much softer current-day precedents for these concepts (just two examples include changing waist-to-hip ratios in females and lower testosterone levels in younger males) - with these and likely those in the film speculated as related to changes in sleep/exercise/diet/environment. The extreme examples in the film are presented as social commentary in the form of body horror, as this is a format with which Cronenberg feels very much at home. I do like how the horror is presented in two ways: visually, and through the discussion of the fear that humans may branch off into separate subspecies.
2. People are restless. Although there is no reference to the internet or social media in the world presented in Crimes of the Future, there is heightened interest in displaying changes in the human body in order to both grab attention and to feel a greater sense of personal fulfillment. Technology AND evolution have both fostered these innate and selfish desires.
3. People in the society depicted in the film are not easily shocked. Although the threshold to accept previously unacceptable behaviors has attenuated in our culture (at least in the First World), The Crimes of the Future's world is on another level. Many examples abound, but the following stand out: a. A child is murdered by his mother, and there is surprisingly little visible repulsion by those who are aware of the act.
B. Said child undergoes a public autopsy, with body entirely uncovered and displayed from the outset, and then abdomen is open for attendees to see internal organs. Laws preventing this activity, if at all present, are not enforced. In this dystopian future, characters reference that law enforcement and governmental agencies are not to be trusted, with characters linked with both fringe and governmental agencies accordingly shown to be unethical. This plays off of a theme that has been debated in recent years.
David Cronenberg constructs a world with some uniquely horrifying characteristics, and the superb performances by this cast accentuated by a top-flight production design and Howard Shore's haunting score, all beautifully tie together the film. As above, and with other reviewer's comments thus far, various narrative aspects appear incomplete. It would be interesting to follow up these and other themes presented, and see where they go in a sequel - with even some backstory added in order to help understand how humans reached the point depicted in Crimes of the Future. Although he has not done this in the past, and time may be running out in his creative life at the age of 79, more information with another installment would very much be welcomed.