Realização:
David CronenbergArgumento:
David CronenbergCâmara:
Douglas KochMúsica:
Howard ShoreElenco:
Viggo Mortensen, Léa Seydoux, Kristen Stewart, Scott Speedman, Tanaya Beatty, Don McKellar, Lihi Kornowski, Yorgos Pirpassopoulos, Welket Bungué (mais)Streaming (2)
Sinopses(1)
À medida que a espécie humana se adapta a um ambiente sintético, o corpo sofre novas transformações e mutações. Com o seu parceiro Caprice, Saul Tenser, artista performático de celebridades, mostra publicamente a metamorfose dos seus órgãos em performances de vanguarda. Timlin, um investigador do National Organ Registry, rastreia obsessivamente os seus movimentos, que é quando um grupo misterioso é revelado… sua missão? – usar a notoriedade de Saul para lançar luz sobre a próxima fase da evolução humana. (PRIS Audiovisuais)
(mais)Vídeos (7)
Críticas (8)
Um bizarro visualmente sofisticado com uma fascinante visão distópica da sociedade, uma música cativante de Howard Shore, carismático Viggo Mortensen com um capuz negro de mártir e irresistível Kristen Stewart sexualmente louca. Cada segundo com ela foi um transe para mim. Pena que o filme não tenha culminado no seu orgasmo delicioso e barulhento na cama de operação enquanto unia cirurgicamente feridas abertas com Mortensen cheio de tumores. Quando jovem, a mensagem de Fogo Maldito de que «a dor é prazer» ajudou-me a passar com sucesso pelos procedimentos de operação da cabeça ferida e outros ferimentos resultantes do comportamento de rapaz. Crimes of the Future deu-me a ideia de que ter algo indesejável e maligno a crescer no seu corpo não é apenas um processo genético natural da vida, mas também uma obra de arte única criada pelos nossos corpos. É um filme estranho, fascinante e mais difícil de perceber que eu certamente vou voltar a ver. [KVIFF]
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A fascinatingly twisted world that I enjoyed watching, although the plot is far from "entertaining". It's a shame, because even in the world the story takes place, and in the themes it addresses, I can see the potential for a heightened viewer experience. Unfortunately, Cronenberg didn’t handle them in an attractive way. Stylish nastiness with potential drowned in boring dialogue. Overall, it could have been worse, but also much better.
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If someone asked me to sum up Cronenberg's latest film in one sentence, it would probably be unattainable mission. On the one hand, it’s mysterious, unyielding and strongly allegorical, as it’s not psychologically interested in the characters, leaving them to wander around the austerely rendered dystopian setting and utter a series of existential or technical rather than mundane and plot-forming lines, but it’s also straightforward and dense. The introduction already uses simple means of communication to ask the questions we desperately want answers to. We are immersed in another distinctive Cronenberg world, where people hardly feel pain; it has become more of an aphrodisiac. Nobody is interested in "old sex" anymore, and instead people get aroused in public by cutting each other. Some transfer this ecstasy into art, which in Crimes of the Future defies all self-control. The show here is driven to extremes that may yet captivate an increasingly disfigured and mutated society. The boundary between artist and creation is disappearing, just as the role of the environment is changing, from a benevolent guiding force to a definitively beleaguered human instrument and, in a way, a feeding. Unfortunately, Cronenberg renders all these absorbing and big ideas too austerely and mainly descriptively, so it stands out painfully at times that the famous filmmaker triumphs mainly in the brooding arrangement of his original world, in which the "alien" coldness clashes with the organic warmth of the sprawling stump beds and chairs. It's time to listen, says the presenter during the performance of an individual studded with auditory organs, exhorting especially the audience, who must be able, as is traditional with Cronenberg, to interpret things in their own way. A film in which the protagonist participates in an inner beauty contest while growing a set of mutant organs may sound like cheap symbolism, but in the hands of a skilled filmmaker it offers many thought-provoking ideas. Often too descriptive and visually unattractive, but still poignant and worthy of reflection. 70 %
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Surgery is the new sex! Horror maestro David Cronenberg returns to the genre that made him famous (body horror) after a few years and creates an interestingly twisted world with a strong philosophical overlay, thoughtful dialogue, decent casting, a novel point and idea, and there are a few enjoyable disgusting bit. Again, people ran out of theaters in America, but this is again overhyped and definitely had more potential given the premise, but I liked it relatively. It's very strange though, with a touch of arthouse, a slower pace, and not many outright horror scenes, but the world itself managed to keep me glued to my seat and wondering what would come of it. Viggo Mortensen is very good, Léa Seydoux shows up naked so all is well, and Kristen Stewart has a smaller and very weird role. You can see Cronenberg's signature, some of the futuristic ideas deserve a chapter to themselves, and the whole organ swapping idea is impressive (the dissection of a small child is the most interesting, but the drill in the head and the hybrid with the ears are also cool). The guts and dissection are quite enjoyable, but there can't be much talk of atmosphere or proper gore. A strange film, hard to rate, there are things I enjoyed a lot, but the pacing could have been better and the horror side could have been given more space. For a fringe audience only. We are making art out of anarchy. Story 4/5. Action 2/5, Humor 1/5, Violence 3/5, Fun 3/5 Music 4/5, Visuals 3/5, Atmosphere 3/5, Suspense 3/5, Emotion 2/5, Actors 4/5. 6/10.
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Cronenberg, as I like and dislike him. Visually I found it as poor as his minimalist Spider, David doesn't even deliver atmosphere anymore, and the few bizarre sarcophagi are not enough. On the other hand, the microworld presented by the five main characters is so creepy that it's kind of fun to watch if you're in the right mood. You just feel like some creepy voyeur watching a couple of weirdos licking each other's bodily deformities through a keyhole. Here, for "licking" add groping abdomens, pulling out tumors, cutting into the skin and making a zipper on the abdominal incision (anyone heard of Videodrome?). Ultimately, the most entertaining part of the whole film is the pissed-off frustration of uninformed male and female viewers who leave during the screening because they were expecting "something nice" with Mortensen, and instead they see people pulling tattooed entrails out of their stomachs. David, that's why I still like you :o)
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