David Cronenberg makes a stylish return to body horror.
, David Cronenberg’s latest film. As a work of art itself, though,has a remarkable amount of polish. The movie brings Cronenberg back to science fiction for the first time in two decades, and it melds his signature squishy body horror with a luxuriant retro-futuristic aesthetic and a murky but carefully traced story about artists at the end of the world — or the birth of a new one.
Tenser is revered among future-bohemians for his unprecedented ability to grow novel internal organs. Caprice extracts these in live performances with an eerie surgery machine composed of bones, caressing a controller that looks like a Milton Bradleygame was eaten by a deep-sea isopod. Tenser’s new parts are then cataloged by a ramshackle organization called the National Organ Registry, which is run by the avuncular Wippet and the high-strung Timlin .
Like many a good film noir, everyone’s loyalties are tangled and sometimes inscrutable. Bureaucratic agencies seem to operate at cross-purposes with no real government to guide them. A powerful corporation hovers around the edges of the world, but its avatars are a pair of mechanics who spontaneously undress in front of clients. The world-weary Tenser is playing several sides of a brewing conflict and looks exhausted by the effort.
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