The ideas that David Cronenberg puts forth in his new film, “Crimes of the Future,” are powerful and poignant, tnyfrontrow writes. “It’s a drama of eight years of silence, of a vision of the end of the line, the end of the world as he knew it.”
David Cronenberg’s new film, “Crimes of the Future,” is launched by a crime of the past, one that emerges from classical Greek mythology: the murder of a young boy by his mother. The movie’s setting and action are as stylized and abstracted as those of classical tragedy, and, for that matter, “Crimes of the Future” was filmed in Greece. But the murder, far from unleashing the movie’s tragic power, is, rather, only a symbol or marker of it—a subordinate plot point of little emotional import.
In the movie’s first dramatic scene, the boy’s mother, Djuna , finds the boy, Brecken , sitting on the floor of their bathroom, munching on a plastic garbage basket—which is telling, as “Crimes of the Future” is very much about the crimes of consumption and the system of production that led to them. The movie’s protagonists are a couple of artists, Saul Tenser and Caprice , who live and work together.
For Cronenberg, the connection between art and bodies, between creative endeavors and the enduring physical transformation of human life, is a long-standing inspiration, as in “Videodrome,” from 1983. In “Crimes of the Future,” he takes that idea even more literally. Saul’s art is literally visceral; it takes place amid a process of rapid evolutionary transformation that it both responds to and accelerates. It isn’t only the body that has changed.
The “new sex,” indeed, takes place in and around the autopsy bed and involves scalpels and synthetic orifices . Yet the “old sex” still, apparently, is what makes babies—and it’s the creation of a new generation that’s the linchpin of the action. Lang Dotrice , the father of the plastic-eating Brecken, is himself a plastic eater; Lang is among the many, in the new world at hand, who have made themselves that way.
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