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Or even, up front, a normal love affair.”Ĭrimes of the Future ’s central romance - between Mortensen’s Saul Tenser and Seydoux’s Caprice, respectively - veers dangerously, titillatingly close to normal.
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That, to me, is essential to living a really full human life. I was married for 43 years, and had children, and grandchildren. “To me, that’s basic to living, and it’s necessary. “I believe in love and romantic affairs and all of that stuff,” he says. And, like much of Cronenberg’s filmography, it is also a film concerned with love.
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It presents a series of physical norms that constantly throw society’s ideas about the body into question. Still, the project - which was originally written by Cronenberg in 1998 and has arrived in 2022 without any changes to its script - is way too broad in its interests to be reduced to the body horror of it all. You get Seydoux unzipping Mortensen’s belly - there is literally a zipper - to tongue his insides, and Mortensen, in the same moment, cautioning: “Careful, don’t spill.”
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You get a subset of society that can apparently only eat synthetic materials: The movie opens with a young boy sitting beneath his bathroom sink and eating a garbage pail. You get Stewart having a little too much fun digging around in Mortensen’s guts with an endoscope and a bed-like machine equipped with scalpels and robot arms used both for sexual pleasure and art the machine was originally designed to perform autopsies, but Mortensen and Seydoux’s characters, who are performance artists, appropriate it to perform live, surgical removals of his rebellious new organs. The trade-off, if you’d call it that, is that many of them have also gained the ability to spontaneously grow new, completely novel organs - an “insurrection” of the body, as one character calls it.Īnd so you get moments that any fan of eXistenZ or Videodrome -era Cronenberg might expect of his work. This is a movie set at a time when humans have lost the ability to feel physical pain. And Crimes of the Future, which stars Viggo Mortensen, Léa Seydoux, Kristen Stewart, and Scott Speedman, is no exception.
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Sitting at the grim intersection of science fiction and gory, outlandish transformations of the human corpus, body horror is a signature of Cronenberg’s work. You can certainly see how the rest of us got there.
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He’s even dismissive of the term “body horror” itself, muttering, when it is invoked, “Whatever that means, ‘cause that’s not my phrase.”īlack Sabbath on the Making of 'Vol. But it’s a title he wears somewhat uneasily, as if to own it would be to take himself too seriously. Over his five-decade career - from the head-exploding thrills of his early-career cult classic Scanners, to the fleshy body-plugs of eXistenZ and Videodrome and Jeff Goldblum’s bug-goo regurgitation in The Fly, to even the sight of Julianne Moore being pummeled to death with an award statuette in 2014’s Maps to the Stars (a movie released just after Moore finally, in real life, won her first Oscar) - Cronenberg has earned distinction as a master of body horror. This comes after my admission that I found his new movie, Crimes of the Future, surprisingly moving, and before the 78-year-old auteur reminds me, with a laugh, that a photo of kidney stones he recently passed is currently available for purchase as an NFT. “I’m basically a romantic,” David Cronenberg says, somewhat unexpectedly.