Kristen Stewart says Cronenberg’s Crimes of the Future is a pain-free society

Kristen stewart mentions that the company has eliminated physical pain in David Cronenberg‘s Crimes of the future.

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That’s true for this director, but he went way beyond that. In the past, Cronenberg has also used the pleasure principle as an insidious vector in his body horror films, quite early in his career. His small 1975 production of Thrill, for example, explores a secret medical experiment gone wrong. This particular scourge is spreading among the residents of an isolated high-end skyscraper. Infected victims generate new organs that push their physical appetites to new heights, especially carnal ones. The carriers are then encouraged to “spread the love”.

As others have reported, the title Crimes of the future was co-opted but not the parcel; this is not a remake.

As Cronenberg’s angsty themes meander through his body horror films, however, there are many similarities. The mutations in this relatively short (65 minutes) film are deliberate – an organic art form in which performance artist Saul Tenser, portrayed by Viggo Mortensen, generates new parts of the body as part of his profession, with the tattoo artist Caprice, played by Léa Seydoux, and Kristen stewart like his fan.

Since David Cronenberg’s early projects, physical transformations (in one way or another) have often played a significant role in his films. And quite often, they involve the body adjusting to new and / or secret technology. Videodrome and Fly are good examples.

Like the works of David Lynch, Cronenberg’s films constantly confront the sensibilities of the public; but unlike Lynch’s brand of surreal dreamy abstraction that relies on finesse, Cronenberg uses a straightforward, gruesome and visceral granularity more appropriate to the horror genre.

There is a popular plot in the sci-fi genre of a “robot revolution”, a clash between organic and mechanical, an “us versus them”, usually within the framework of a dystopian society. But Cronenberg invests heavily in the inner lives of his heroes; their conflicts are familiar to people from all walks of life. He also examines the effect of human evolution through close examination of the individual, as he did with scientist Seth Brundle in Fly, or the psychic Johnny Smith in The dead zone.

The synopsis of Crimes of the future suggested in the media suggests a greater focus on artistic power and appeal rather than technological intervention (although it is possible that this may still play a role). Saul Tenser provides a canvas for tattoo artist Caprice to ink her medium on – a possible commentary on the continuing trend in body art today. Kristen Stewart appears to be a symbol for the general public, but with Cronenberg’s penchant for closeness and personal touch, the loyal fan is a better choice, especially if Tenser’s performance, as suggested in a synopsis, is a novel. . .

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