Review: ‘Crimes of the Future’ is so David Cronenberg at his best

Ever since director David Cronenberg’s new film was announced, everyone has wanted to know more about ‘Crimes of the Future’, a return to the director’s darkest and most perverse science fiction, where he would explore an apocalyptic and decadent world, where pain is become the new pleasure of the human being.

After passing through the Cannes Film Festival, ‘Crimes of the future’ hit streaming platforms on July 29, on MUBI. Since then, many have devoted themselves to talking about director David Cronenberg’s new film, which has generated a lot of disparity among those who could already see it.

First, say that ‘Crimes of the future’ is portrayed by Viggo Mortensen, the director’s favorite actor, best known for bringing Aragorn to life in “The Lord of the Rings”. While the rest of the cast includes Léa Seydoux and Kristen Stewart, along with Scott Speedman, Welket Bungué, Don McKellar, Yorgos Pirpassopoulos and others.

A brief description of ‘Crimes of the future’, It’s a science fiction horror movie. and this is very reminiscent of Cronenberg’s work in his other acclaimed films, such as ‘Videodrome’, ‘Naked Lunch’, or one of his most famous, ‘The Fly’, with Jeff Goldblum.

What is the story of “Crimes of the Future” about?

The story of “Crimes of the Future” is set in an apocalyptic future, in which there are no details on which year or what happened to humanity. There, Saul Tenser, is a performance artist who makes private presentations, where he is subject to exposed surgeries.

The best way to describe the story is according to its synopsis: “The human species evolves and adapts to a synthetic environment, the body is subject to new transformations and mutations. The artist Saul Tenser (Viggo Mortensen) exhibits the metamorphoses of his organs in avant-garde performances with his partner Caprice ”.

In other words, in ‘Crimes of the Future’, David Cronenberg talks about pain, sex and human evolution, these are the themes that guide the whole plot. And for better or for worse, the directing is so personal, there are subtle hidden details that it is difficult to grasp everything at first sight of the film.

But don’t get me wrong, because with just one time after watching ‘Crimes of the Future’, you will understand in general terms the things its director is talking about. But you need to pay attention to the dialogue and script of the tape, to capture information that is not otherwise explained.

‘Crimes of the Future’ offers a very original and at the same time simple aesthetic, with dark but empty environments, with visceral moments opposed to erotic sequences in which viscera and organs are involved. Visually it is so seductive that, with every second and every new room, you feel its decadent and sensual atmosphere.

It is true that, on this occasion, things are more subtle than in other David Cronenberg films, however, they do not become as profound as it might seem at first glance, but his reflection on where human evolution and new forms of pleasure where the pain of humans, technically, no longer exists, is present.

David Cronenberg resorts to literal explanations of his world, but at no time is it redundant. Also, through his character, he reflects on his own art, while asking questions about what we might lose or gain in the absence of physical pain.

In short, ‘Crimes of the Future’ is an interesting commentary to watch on the future of human beings and which, in turn, speaks to current relationships and what brings us closer. Although his rhythm is sometimes heavy, even when Howard Shore’s synthesizers are at full blast, he becomes one of David Cronenberg’s best samples.