David Cronenberg's "CRIMES OF THE FUTURE"

October 18, 2023 Dennis D. McDonald

In the future envisioned by Cronenberg in this film, humans have reached a point where pain and infection are things of the past. “Desktop surgery” has become popular. A few—including the two leads in this film— incorporate surgical removal of extraneously generated internal organs as a form of exotic performance art.

At the same time humans have evolved in other ways. Some have developed the ability to eat and digest plastic. These people are engaged in a surreptitious social movement to protect and support this newly formed component of society.

The plot, set design, technology, hardware, and scripting are definitely Cronenbergian including, of course, Cronenberg’s almost-trademarked focus on body modification and body horror. Add to this sub-plots of a police murder investigation, government attempts to register those generating “new” internal organs based on a fear that humans are evolving into non-humans, and the adaptation of automated autopsy machines to provide support for public performances.

It all sounds very creepy and weird, which it is. What grounds the movie, though, are convincing (and somewhat odd) performances by actors such as Viggo Mortensen, Léa Sedoux, and Kristen Stewart. Somehow they provide an air of believability and gravitas to events and words that, in lesser hands, might have generated mirthful or even shocked reaction.

Then there’s the body horror. Things are not quite as gory as one might think from the above description. Yes there’s a lot of blood, and we do get to cruise around inside chest and stomach cavities to explore what’s new, unique, and/or weird. Plus, the weird body modifications and their impacts on human relationships have some definite sexual overtones. But this is Cronenberg, folks, doing stuff like he did back in Existenz. You’ve been warned.

Not to be overlooked: weird and sometimes gorgeous set design and photography, and an excellent music soundtrack by Howard Shore. All in all, I hope I’m as creative when I’m 79 years old as Cronenberg was when he made this film!