He is Saul Tenser, a performance artist whose organs are extracted before live audiences by his partner Caprice (Lea Seydoux), a former trauma surgeon. That motivation is verbalised by the character that Cronenberg regular Viggo Mortensen plays - this is the actor's fourth collaboration with th director he first met in Cannes two decades ago.
They go on regardless, throwing up surprises along the way, as much for themselves as for those that are witness to their performance.Ĭrimes of the Future, which borrows the title of the 1970 Cronenberg film but little else in plot and thematic terms, forays into the near future where man has developed the power to create neo-organs that could be at peace and harmony with "the techno world we have created". It is intriguing and frustrating in equal parts - the swing from one end to the other is clearly intended and it enhances the joy of watching a 79-year-old agent provocateur holding nothing backĪmid environmental and corporal crises, the characters themselves - each as vivid as the other, irrespective of the length of time that they are on the screen, none more so than a physically expressive dancer with multiple ears swaying to Howard Shore's music in an evocatively lit nightclub - never seem sure of what they are in search of. Cronenberg leaves a great deal of his film open to interpretation. It takes a while for one to ascertain what Crimes of the Future really wants to tell us. It lies at the core of an underground live organ extraction shows art that inevitably roils the authorities no end.
David Cronenberg, returning to unalloyed body-horror sci-fi for the first time since 1999's eXistenZ and presenting human organs in a strange and entirely new light, serves up a hypnotic, scalding allegory in Crimes of the Future, his first film since 2014's Maps to the Stars.Ĭrimes of the Future probes a weird but tangible world where pain has ceased to exist and the act of developing and harvesting new body organs has been raised to the level of an art form.
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