The Pitch: In a near-future world the place air pollution and technological development have led human beings to develop “Accelerated Evolution Syndrome” (i.e. the spontaneous improvement of recent organs and bodily configurations), bodily modifications are the norm and ache is nearly a factor of the previous. Save, it appears, for Saul Tenser (Viggo Mortensen), a celeb efficiency artist whose gimmick is tattooing, then surgically (and publicly) eradicating, the brand new organs his physique generates in elaborate showcases together with his artistic accomplice/probably-lover Caprise (Léa Seydoux).
He lives a lifetime of fixed ache, one which no variety of bio-technological units — floating orchid-like beds that connect fleshy tentacles to his limbs, residing excessive chairs that rock him as he eats breakfast so he can preserve his meals down — can suitably alleviate. But it’s that ache, and the need to excise it from his physique, that makes him the perfect, a real artist in a world of faux-edgy poseurs who daring pretend ears onto themselves to succeed in for a similar notoriety.
It additionally attracts no variety of different events, from a pair of bureaucrats on the newly minted Nationwide Organ Registry (Don McKellar’s Whippet and Kristen Stewart’s frazzled fangirl Timlin) to a detective (Welket Bungué) who makes use of him as a stool pigeon for unlawful physique modders. And it’d lead Saul to his most bold present but, as a grieving father and activist (Scott Speedman) urges him to carry out his subsequent public post-mortem on a lifeless physique — his son’s — promising Earth-shattering revelations for his viewers.
Lengthy Stay the New Flesh, Identical As The Previous Flesh: It’d be the understatement of a lifetime to say that horror legend David Cronenberg is not any stranger to cinematic physique horror: With movies like Scanners, Crash, Videodrome, The Fly, and others, the Canadian auteur virtually wrote the fleshy rulebook on the style. His movies are dreamlike, meandering ruminations on the blurred traces between human, animal, and know-how, testing the bounds of what our blood-and-pus-filled meat cages are able to (and what they may be prepared for sooner or later).
Crimes of the Future is not any completely different, a welcome return to the filmmaker’s body-bending considerations that evokes his prior meditations on the flesh — even because it scrambles a bit to search out one thing new to say that he hasn’t already earlier than.