Cannes Review: David Cronenberg Delivers with the Unsettling and Erotically Charged Crimes of the Future

Cannes Review: David Cronenberg Delivers with the Unsettling and Erotically Charged Crimes of the Future
In Crimes of the Future, an underground movement of performance artists try understanding a world in which humans grow new organs on a regular basis and pain, for some reason, has vanished. The director, of course, is David Cronenberg, back with his first film in eight years and just the second original screenplay he has developed since 1999’s eXistenZ. Since its announcement last year Crimes has been marketed as Cronenberg’s long-awaited return to body horror, a lubricious realm that he hasn’t fully embraced since… 1999’s Existenz. Miraculously, it delivers on that promise: a film of erotic surgery and designer organs; in which a live autopsy is performed on a young boy for a crowd of trendy onlookers; and in which the recently regal Kristen Stewart gives a performance so tweaked it might actually be the embodiment of edging.

Whether Cronenberg ever truly went away from this kind of cinema is subject to debate.
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