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“The Shrouds” Is a Casket Case—and an Unsettling Vision of Techno-Paranoia

The new David Cronenberg, “The Snouds”, has the funniest and blind serial sequence that I have ever seen. Mirna (Jennifer del), a divorce, is lunch with a widowed businessman, Karsh (Vincent Cassel), who made his wealth a “producer of industrial videos”. But Karsh has since moved to other endeavors. To anyone, owns the restaurant in which they are; It is located in a cemetery, which he also owns in part. His wife, Rebecca (Diane Kruger), who died of cancer four years ago, was buried directly abroad. Oh, and before it was placed for rest, it was wrapped in a metal shroud with a built -in scanner -like MRI, allowing the crusher to monitor its decomposing residue through a digital application invented, called Gravetech. (Why is the application not called a grave with a scene that is one of the most confused story secrets. Most of their loved ones will be repelled through such pictures; Karsh finds it comfortable. “I can see what is happening to her,” he admires. “I am in the grave with her.”

It should be noted that Myrna and Karsh were created by their dentist, which is appropriate, and seeing how their fateful confrontation continues such as an oral examination; There are X -ray images and signs of advanced decay, and by the end, Mirna was completely bleached. It should also be noted that Cronenberg has described the “atonement” as his most autobiography. He wrote this after his wife has long died due to cancer, in 2017. Only if we missed the personal dimension, Cassel – one of the old warriors in Cronberg, after he played a Russian game without helplessly in “Eastern Ouds” (2007), and a large series, it is filled with attachment, which is cortex, which is an unfamiliar psychological image. Cronsnberg is known as a Naz hole or an explosion head. Karsh can issue a talisman for the director’s profession when he asks Slyly Myrna, “How dark are you ready to go?”

This question betrays a hint of self -awareness, but it fades quickly. Karsh is very consumed with the body of his late wife – and with the joy of the importance of technology that makes such consumption possible – to realize, or even care, what others think. But Kronnberg is largely more knowledgeable, and he deals with these pathological materials without disarmament. A lot of dialogue contains an illustrative flattening, which only increases the dark comedy of the whole conference; The touch of Cronenberg, the cold Latex that still continues the brush against your funny bone. It also builds sufficient distance between him and the changing ego to complicate our feeling of “lies” as (just) intimate recognition. in 2022 Interview with Adam Naiman to New YorkerCronsnberg indicated that he still lives in the house he shared with his wife for many years; On the contrary, Karsh sold his home and Rebecca and now lives in an apartment of Japanese -style Japanese class, with a photon bed seen a trench filled with Koi. (Production design, not all full of eastern buildings, by Cronenberg Carol Spier long ago.)

In other words, Karsh surrounded himself and his grief in a garbage artistic cocoon. Gravetech hunting globally. With the support of Chinese investors, it expands to Icelandic cemeteries and attracting influential customers, a sick Hungarian businessman among them. But the company also has non-visible enemies, and when the cemetery-the systems that have been hacked, the coffin graves that tear it from its foundations-Karsh are a puzzle on his hands. The “reverse” is unprecedented and elegant, but also trembles with a sad threat; Cronenberg, after we sold the mid -road on the Necrophila as a business plan, now it is a threat to the stability of that plan. Karsh helps in the investigation conducted by the sister of Rebecca, Terry (also Krager), which is vital, affectionate, and clearly raises through conspiracy theories. Former Terry, Morey (Jay Peres), is a less confident and less confident arms chair – a technical buzz, with NEBISHY bitterness, has never stopped trying to strengthen Terry.

At some point, Mori Karsh asks if he sleeps with Terry, given the likelihood of the beloved Rebecca. Karsh mock the proposal. Cronenberg quietly connects him at a later time. Ultimately, another woman enters the image-Soy-Men (Sandrin Holt), the wife of the Hungarian agent, who, unlike Mirna, does not feel anxious from the Carch line. Under its reckless surface, the “atonement” revolves around the continuous strength of sadness, as well as the possibility of moving from it. In the case of Karsh, the latter reaches an unexpected welcome from the exciting renewal. The sexual motivation, as always with Kronnberg, is one volatile: at the same time that he strikes, Karsh begins with hallucinations-or perhaps memories-from Rebecca, is no longer in a structural form but in the serpent, breathing, and soon they turn to meat. Crunenberg is often welcomed, reduced, as they are terrified of the body, but there is a flash of disgust in the view that all of him and Karash are on the fragile reckonian frame destroyed by cancer-which is just an unpopular estimate of its beauty, and irrational spot.

When you are “reverse” Cannes Film Festival last yearAmong other things, a silent reception that has been overwhelmed by the “matter” in Corali Vargate, which is a female picnic, has been drawn into the effect of Kronnberg, but rather less than its spirit. Fargeat is not the only French director who recently delivered a shock in the body to the Cannes regime: In 2021, Julia Dukorno won the High Festival for the Exciting Film “Titane”, which was proposed by “The audience” that was arrested in the body and minerals, “The accident”. What teams that make it a few decades. When “Crash” played at the Cannes Festival, in 1996, she was awarded a specific prize – a special jury award – by a significant jury and a scandal. Now, in the eighty-two, Cronenberg lived to see the art-Worror cinema achieved international praise and success, of the type that has continued his pioneering works in this kind.

Did Kronnberg, who was spending time as well, fell behind him now? Like the preceding advantage of the director, “Future Crime” (2022) and “Reverse” were considered, and in some cases it was rejected, as an auctional effort-a series of familiar and familiar differences on the well-known concerns. Whether the director re-runs the most expensive songs-or, less than that, approaches the self-yield-his latest films that want the new shock were found. But the will of shock was never rated among the priorities of Kronnberg; The audience’s horror has always felt as a goal less than being a secondary product of a strict analytical process, where the sensations are subject to ideas. The body often extends, melts and tears, yes, but always in the service of basic principles: in one way or another, the body must interact and adapt to its irrational desires, and to the effects of the contest in its environment. In “Future Crimes”, Kronnberg searched people who were not going out of us, but to reveal biological and developmental violations – to lead us to a deeper understanding of the world that we inherit and destroy forever.

This world seems less horrific in “The Blackds”, which was filmed (by film photographer Douglas Koch) at the unwanted Toronto sites; Here, the bodies are degraded for natural reasons that are inevitable for disease and death. But the threat that is diagnosed is more treacherous. What begins as a drama of sadness quickly turns into a study on how to exploit, manipulate and boycott sadness. CRONENBERG made a movie that is unjustified by the unjustified parasites to the human world. In “VideoDrome” (1983), Cronenberg recorded Betamax Cassette in the leg trunk; Now, to clarify a reward point, it can cut it to Karsh clearly using a tablet device in the bathtub. One of the main players in the narration is AI’s friendly assistant Karsh. Her name, Hony, suggests immediately that she is a trap.

The story is not resolved as it was dissipated, in a series of almost comic fluctuations, repercussions, and geopolitical risk. Was Gravetech become the elegance of the nineteen and Chinese power players, or is Karsh for more hateful personal reasons? It is unclear, and ambiguity is spread like an electronic virus. In the end, the most worrying thing about “atonement” is not an idea of ​​a corpse on the camera; It is the possibility of the body not at all – in fact, it may be an artificially confirmed image, there to enhance a comfortable illusion of emotional closure and narration. Even when he claims to tell his own story, Kronnberg can only leave us with something more concerned. Karsh wanders how to see how we can rest in the future; Its maker is still fixed on how we live now. ♦

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