Crimes of the Future, David Cronenberg’s second effort at making a film, is now in theatres. Cronenberg made a picture about a mad dermatologist in a world without women in 1970, now he’s returning with a completely new premise and the same old title 52 years later. Cronenberg, on the other hand, takes a risk and asks, “What if surgery was the new sex?”
It’s one of those notions that piques the interest of the senses; it’s both provocative and disturbing in nature. Unfortunately, the implementation of such an intriguing notion falls short, and we are left with a confused, weirdly directionless film from a well-known director.
Most films adhere to a story structure pattern like glue. A three-act framework, an inciting incident, and a climax can be found in almost every film. There isn’t much of that in Crimes of the Future. While it’s easy to applaud a writer who defies convention to tell an original, unconventional story, this film tells a strange and out-of-this-world story that ends up being a mind-boggling pile of garbage that’s nearly impossible to connect with.
A story is not required in every film, but every film should have one. Unfortunately, Crimes of the Future veers off in a number of directions, with disastrous effects. Some people may choose to read the story summary on Wikipedia instead of viewing the movie. However, reading the film’s summary will ensure you a one-way ticket to two emotions experienced by those who opted to sit in the audience: perplexity and confusion. Instead of shocking you in the way Cronenberg intended, the story displays you odd imagery in a world you don’t care about.
If one were to try their hardest to explain what transpires in this picture, it would boil down to this: a future civilization featuring Saul Tenser (Viggo Mortensen) and Caprice (Léa Seydoux), a performance artist couple. In front of an audience, they grow and remove organs. The concept is original, but Cronenberg’s failure stems from his incapacity to take the plot he created and stretch it in new directions. Instead, the picture sticks to a single theme, deviating into a never-ending sequence of subplots that don’t add up to anything.
A film like Crimes of the Future has a dedicated following. This film will most likely not disappoint fans of Cronenberg’s style. Its daring style may be adored by many. Unfortunately, I thought it to be a tedious, never-ending succession of expository language moments in which an actress of Stewart’s ability is forced to do nothing but whisper. It’s not a fun movie to see, and it’s even less fun to think about. While I admire a filmmaker with a unique approach, I found this to be a tough picture to connect with and much more difficult to sit through.
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