This is a movie discussion group. While participants usually arrive having watched the film beforehand, you are invited to come and listen if you haven't seen the film yet.
“As the human species adapts to environmental devastation, bodies undergo transformations and mutations. Accompanied by his life partner Caprice, artist Saul Tenser showcases, in grotesque and mesmerizing performances, new organs that have appeared inside his body. Meanwhile, a mysterious group tries to use Saul's notoriety to expose and advocate for this next phase of human development. The oppressive National Organ Registry, though, has outlawed evolution, requiring the removal and archiving of these mutations."
CRIMES OF THE FUTURE (2022)
Written and directed by David Cronenberg
With VIGGO MORTENSEN, LÉA SEYDOUX, SCOTT SPEEDMAN, DON MCKELLAR and KRISTEN STEWART
1 hour 47 mins.
Violence rating: high
Available to stream on Hulu, and to rent in a variety of places. Check https://www.justwatch.com/us/movie/crimes-of-the-future-2022 for details.
One of QUEER FEAR's honorary queer straight directors (the others being Ken Russell and Hitchcock), Cronenberg interrogates sexuality through his beautifully grotesque view of the human body, and its unstable and fractious relationship with gender and identity--key concepts with which queerness is, by definition, always grappling with. But as this is his 21st first film, and his first original script in 23 years, it offers little to no guidance on how it is to be processed by the unsuspecting viewer. (Whether this is meant to be a remake, reboot, sequel or prequel to his similarly creepy and baffling 1970 film "Crimes of the Future" is anyone's guess.) All his obsessions are present, although metaphors like the pioneering but reckless doctor-researcher-scientist as artist, or selfhood located inside the body, are made literal, taking some of the fun out of the decoding process. The typically convoluted narrative is so attenuated and elliptical that storytelling seems the least of its concerns. One thing is certain--like many of his previous films, his image of the future, which initially seems outrageous and preposterous, turns out to be alarmingly prescient. Are we queer enough to handle the oncoming world he's putting forth?