Just when his fans may have figured that David Cronenberg had called it a career (he’s now 79 and hadn’t made a feature since the misfired Maps to the Stars in 2014), along comes a film that only the Canadian maestro of the perverse could have created.Obsessed more than ever here with body parts and the twisted and/or constructive uses he sees fit to assign to them, Cronenberg hasn’t made exactly a comedy with Crimes of the Future.
But what could have been a grossly and even off-puttingly gruesome display of torturous experiments and corporal corruption has been treated with an unexpectedly light and even playful hand, a sense underlined by the characters’ tacit as well as explicit admissions that they don’t entirely know what they’re doing in their adventurous search to meld the human and the mechanical.Originally readied for production in 2003 before being canceled, this is a film very much targeted to the director’s core audience; rarely, if ever, have human organs played such an important role in one of his works, and that’s saying something.
But whether it’s age or inclination, he’s having a bit of fun with his grotesque conceits here and taking them less seriously; he’s not at a self-parody stage, but there’s something of a wink behind what he’s doing that wasn’t often in evidence before.Everything that transpires here comes down in a claustrophobic, man-made world; there are few, if any, exterior scenes (the film was shot in studios in Greece in little more than a month’s time one year ago), and there is a rather shabby artificiality to the surroundings that emphasizes the marginality of the characters and their world.All the same, they see what they’re doing as transformative, potentially (and necessarily)
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