![]() It’s unclear how they (or most anyone, really) make money, though presumably they eke out a living through their art. The story then shifts to Saul and Clarice, who live and work in a warren of rooms with peeling walls. ![]() “Crimes of the Future” begins with some shocking violence, an atrocity that sets the uneasy mood and announces that Cronenberg won’t be taking prisoners. Whatever the case, the human appetite for watching spectacles of pain remains ferociously intact. There’s a disconcerting lack of affect to many of these men and women, except when they’re carving up one another up in performances, or while nestling together like lovers. There, in shadowy streets and derelict buildings, people roam around, often seemingly without purpose, as if stoned, heavily medicated, or perhaps blasted by some mysterious collective catastrophe called reality. The movie takes place in an indeterminate future in an unspecified, somewhat depopulated waterfront location. As viewers stand quietly watching, their cameras trained on the artistic display, Clarice delicately slices and probes Saul’s body, opening and reopening him like a cherished book. “The only change will be to make visible the hidden wounds.” Cronenberg makes wounds visible with a vengeance in “Crimes of the Future,” which focuses on a pair of body artists - Viggo Mortensen as Saul, Léa Seydoux as Clarice - who conduct surgeries as performances in front of live audiences. “The future is already here within me,” Kafka said. No one does the future like Cronenberg (and body horror), well, except maybe Kafka. We’ll find out who gets this year’s Palme at the closing ceremony on Saturday. After getting assurance that the jury’s integrity would be maintained, Panh returned and gave the top prize to a filmmaker from Japan, and one from Slovenia.Īnd what’s happening with the main competition jury, which selects the Palme d’Or winner? It’s hard to tell, as that process is always kept very quiet, but jury members have now seen more than half the competing films. ![]() Some employees at TikTok had wanted to select different winners from the jury’s short list, he told Ben Kenigsberg. The collaboration has seen massive TikTok billboards go up around town, and TikTok also announced a competition for short films shot on its app.īut the marriage of the big and very small screen hit a rough patch when the filmmaker Rithy Panh quit as the short film competition’s jury president. At the press screening our reporter Kyle Buchanan attended, a respectable 15 people walked out of the film, far fewer than at the notorious premiere of Cronenberg’s 1996 film “Crash,” when audience members made a mass exit.ĭargis called the film “easily the spookiest, most original and intellectually provoking selection that I’ve seen here so far.”Įlsewhere at Cannes, the festival this year partnered with TikTok to “diversify the audience,” according to Cannes’s artistic director Thierry Frémaux. He wrote the script for the movie 20 years ago, and “didn’t change anything,” the director told a reporter on the red carpet. “Crimes of the Future,” which stars Kristen Stewart, Léa Seydoux and Viggo Mortensen, is a return to the genre of body horror for Cronenberg, 79. Speaking from the red carpet ahead of the film’s premiere, Park said the film was both “a love story and a detective story.”ĭargis found “Decision to Leave” “beautifully shot and staged, and filled with gorgeous visual touches.” She also noted many nods to Hitchcock’s “Vertigo.” It’s Park’s first film since “The Handmaiden” in 2016. “Decision to Leave” stars Tang Wei, Park Hae-il and Go Kyung-pyo, and tells the story of a detective who develops an interest in a woman who is a suspect in an investigation of her husband’s death. ![]() Monday’s program included two long-awaited films from Cannes favorite directors: Park Chan-wook’s “ Decision to Leave” and David Cronenberg’s “ Crimes of the Future,” both in the main competition.
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