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Ručak i “body horror” film kultnog kanadskog redatelja Davida Cronenberga ne idu zajedno, osim ako posrijedi nije njegov “Goli ručak”. Zato je sreća da autor ovih redaka nije uspio ručati, hitajući na ranu projekciju Cronenbergova filma “Zločini budućnosti” (“Crimes Of The Future”) u kinu “Picturehouse Central” na londonskom Piccadillyju, serviranog baš kad je “lunchtime”. Nije uzeo ni kokice. Mudra odluka koju su, pokazalo se, donijeli i ostali gledatelji.

Svatko je u publici “Picturehouse” kina očito znao da ulazi na novi, povratnički film kralja tjelesnog horora koji prodaje “Zločine budućnosti” više od zvjezdane glumačke trojke na plakatu (Viggo Mortensen, Lea Seydoux, Kristen Stewart). Cronenberg je u novom mileniju, nakon “Pauka”, zanemario tjelesnost i fokusirao se većinski na psihologiju po mjeri “Ukletih blizanaca” u “Opasnoj metodi”, “Cosmopolisu” i “Karti do zvijezda”).

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FILM: Crimes Of The Future; SF horor; Kanada/Velika Britanija/Grčka, 2022. REŽIJA: David Cronenberg ULOGE: Viggo Mortensen, Lea Seydoux DISTRIBUCIJA: MCF – MegaCom Film OCJENA: *** ½

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Neki od njegovih novijih filmova bili su tjelesni, poput “Povijesti nasilja” i “Ruskih obećanja”, ali ni blizu hororski kao nekoć, tijekom sedamdesetih i osamdesetih. Sjetimo se tog “nekoć”, tj. niske horora nerijetkog SF prefiksa kao što su “Paraziti ubojice”, “Bjesnilo”, “Leglo”, “Moć razaranja”, “Videodrom”, “Zona smrti” i “Muha”, u devedesetima nastavljene s filmovima “Naked Lunch”, “Sudar” i “eXistenZ”.

Ljudsko tijelo i tjelesno(st), “body horror”, za Cronenberga su način da metaforički progovori o bolesti, smrti i smrtnosti, suodnosu anatomije i mašinerije, mesa i metala, biologije i moderne tehnologije. “The Fly” je bio metafora za AIDS, a “Crash” su oslikavali erotični prizori prolaska ljudskih prstiju po karoseriji automobila i seksa likova s ožiljcima/ozljedama od prometnih nesreća.

Naslovljeni identično kao Cronenbergov film iz 1970. “Crimes Of The Future”, iako posrijedi nije remake, intrigantni “Zločini budućnosti” sumiraju redateljev biomehanički opus od sedamdesetih naovamo, s naglaskom na onaj tjelesno-hororski, radeći puni krug.

Fanovi Cronenberga prepoznat će “body horror” referencije u scenama s ožiljcima u predjelu abdomena (“Videodrome”) i pomaknutim seksualnim uzbuđenjem “Sudara”, dok je Mortensen tu kao poveznica s njegovim novomilenijskim ostvarenjima. Prolog filma sugerira da “Crimes of The Future” neće biti za one osjetljivijeg stomaka.

Neki dječak ulazi u zahod s probuđenim apetitom za plastikom i počinje žvakati plastični koš za smeće. Nekoliko trenutaka kasnije, njegova majka ga uguši jastukom, očito ne mogavši više trpjeti sinove slične prehrambene navike. Nalazimo se u nedefiniranoj bliskoj budućnosti gdje/kad su ljudska tijela doživjela ogromnu promjenu, mutirala i evoluirala da se adaptiraju distopijskim uvjetima života na Zemlji.

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Bol je nestala, kao i infekcije (“nitko više ne pere ruke”), što je ironično u eri (post)COVID-a. Zahvaljujući “sindromu ubrzane evolucije”, neki ljudi su kadri spontano razvijati nove unutarnje organe koji su “nikad prije viđeni” i “izgleda da funkcioniraju”. Jedan od njih je “umjetnik performansa” Saul Tenser (Mortensen) koji spava u krevetu nalik čahuri i jede u automatiziranoj stolici.

Performans uključuje odstranjivanje novih umjetnikovih organa “uživo” od strane njegove partnerice koja upravlja kirurškom mašinerijom na daljinski, bivše kirurginje Caprice (Seydoux) koja smatra da time “stvaramo smisao iz praznine” i drži da “organizam treba organizaciju”. Sve to fascinira Timlin (Stewart), mladu zaposlenicu Nacionalnog registra organa. “Kirurgija je seksi, zar ne”, kaže Timlin.

Njezin je zaključak “Kirurgija je novi seks”. To Cronenberg kasnije podcrtava scenom kad Caprice izvede oralni seks na Saulovom izrezanom torzu jer ovo je svijet u kojem ljudi imaju “želju da budu otvoreni”.  Za Timlin su unutarnji organi kao “otkriće nove vrste životinje” ili “novog Picassa”. Dakle, nešto prijelomno, umjetničko djelo sukladno Cronenbergovu opusu hororsko-tjelesnog arta i stvaranja umjetnosti “često povezane s boli”.

Izložba modificiranih tijela kao umjetničkih djela norma je u budućnosti Cronenbergova filma jer “body is reality”, pa u jednoj sceni vidimo i nekog tipa zašivenih očiju i usta s multiplim ušima na cijelom tijelu (Tassos Karahalios), a Saul se, malo crnog humora, dvoji u vezi prijave za natjecanje u unutarnjoj ljepoti (“Što ako osvojim nagradu za najbolji originalni organ?”).

Cronenberg poseže za crnim humorom i satirom, ali je prilično ozbiljan kad je riječ o stanju planeta, budućnosti ljudske rase i opstanku čovječanstva. Neki podzapleti su višak, recimo Saulovi nalasci s policajcem iz Novih poroka (Welket Bungué; “Berlin Alexanderplatz”), a neki ne, kao kad u priču uđe otac onog dječaka s početka filma, Lang (Scott Speedman).

Lang smatra da je “vrijeme da se ljudska evolucija uskladi s tehnološkim svijetom koji smo stvorili” i da se “moramo početi hraniti vlastitim industrijskim otpadom”. Spas od najvećih “zločina budućnosti”, čovjekova uništenja eko-sustava i cijelog čovječanstva, po Cronenbergu leži u evoluciji ljudskog tijela, mogućnosti jedenja i probavljanja plastike.

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Ubrzo i u hrvatskim kinima

"Crimes Of The Future" je kupljen za hrvatsku kinodistribuciju i ubrzo bi se trebao početi prikazivati na domaćim velikim ekranima.

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Ručak i “body horror” film kultnog kanadskog redatelja Davida Cronenberga ne idu zajedno, osim ako posrijedi nije njegov “Goli ručak”. Zato je sreća da autor ovih redaka nije uspio ručati, hitajući na ranu projekciju Cronenbergova filma “Zločini budućnosti” (“Crimes Of The Future”) u kinu “Picturehouse Central” na londonskom Piccadillyju, serviranog baš kad je “lunchtime”. Nije uzeo ni kokice. Mudra odluka koju su, pokazalo se, donijeli i ostali gledatelji.

Svatko je u publici “Picturehouse” kina očito znao da ulazi na novi, povratnički film kralja tjelesnog horora koji prodaje “Zločine budućnosti” više od zvjezdane glumačke trojke na plakatu (Viggo Mortensen, Lea Seydoux, Kristen Stewart). Cronenberg je u novom mileniju, nakon “Pauka”, zanemario tjelesnost i fokusirao se većinski na psihologiju po mjeri “Ukletih blizanaca” u “Opasnoj metodi”, “Cosmopolisu” i “Karti do zvijezda”).

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FILM: Crimes Of The Future; SF horor; Kanada/Velika Britanija/Grčka, 2022. REŽIJA: David Cronenberg ULOGE: Viggo Mortensen, Lea Seydoux DISTRIBUCIJA: MCF – MegaCom Film OCJENA: *** ½

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Neki od njegovih novijih filmova bili su tjelesni, poput “Povijesti nasilja” i “Ruskih obećanja”, ali ni blizu hororski kao nekoć, tijekom sedamdesetih i osamdesetih. Sjetimo se tog “nekoć”, tj. niske horora nerijetkog SF prefiksa kao što su “Paraziti ubojice”, “Bjesnilo”, “Leglo”, “Moć razaranja”, “Videodrom”, “Zona smrti” i “Muha”, u devedesetima nastavljene s filmovima “Naked Lunch”, “Sudar” i “eXistenZ”.

Ljudsko tijelo i tjelesno(st), “body horror”, za Cronenberga su način da metaforički progovori o bolesti, smrti i smrtnosti, suodnosu anatomije i mašinerije, mesa i metala, biologije i moderne tehnologije. “The Fly” je bio metafora za AIDS, a “Crash” su oslikavali erotični prizori prolaska ljudskih prstiju po karoseriji automobila i seksa likova s ožiljcima/ozljedama od prometnih nesreća.

Naslovljeni identično kao Cronenbergov film iz 1970. “Crimes Of The Future”, iako posrijedi nije remake, intrigantni “Zločini budućnosti” sumiraju redateljev biomehanički opus od sedamdesetih naovamo, s naglaskom na onaj tjelesno-hororski, radeći puni krug.

Fanovi Cronenberga prepoznat će “body horror” referencije u scenama s ožiljcima u predjelu abdomena (“Videodrome”) i pomaknutim seksualnim uzbuđenjem “Sudara”, dok je Mortensen tu kao poveznica s njegovim novomilenijskim ostvarenjima. Prolog filma sugerira da “Crimes of The Future” neće biti za one osjetljivijeg stomaka.

Neki dječak ulazi u zahod s probuđenim apetitom za plastikom i počinje žvakati plastični koš za smeće. Nekoliko trenutaka kasnije, njegova majka ga uguši jastukom, očito ne mogavši više trpjeti sinove slične prehrambene navike. Nalazimo se u nedefiniranoj bliskoj budućnosti gdje/kad su ljudska tijela doživjela ogromnu promjenu, mutirala i evoluirala da se adaptiraju distopijskim uvjetima života na Zemlji.

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Bol je nestala, kao i infekcije (“nitko više ne pere ruke”), što je ironično u eri (post)COVID-a. Zahvaljujući “sindromu ubrzane evolucije”, neki ljudi su kadri spontano razvijati nove unutarnje organe koji su “nikad prije viđeni” i “izgleda da funkcioniraju”. Jedan od njih je “umjetnik performansa” Saul Tenser (Mortensen) koji spava u krevetu nalik čahuri i jede u automatiziranoj stolici.

Performans uključuje odstranjivanje novih umjetnikovih organa “uživo” od strane njegove partnerice koja upravlja kirurškom mašinerijom na daljinski, bivše kirurginje Caprice (Seydoux) koja smatra da time “stvaramo smisao iz praznine” i drži da “organizam treba organizaciju”. Sve to fascinira Timlin (Stewart), mladu zaposlenicu Nacionalnog registra organa. “Kirurgija je seksi, zar ne”, kaže Timlin.

Njezin je zaključak “Kirurgija je novi seks”. To Cronenberg kasnije podcrtava scenom kad Caprice izvede oralni seks na Saulovom izrezanom torzu jer ovo je svijet u kojem ljudi imaju “želju da budu otvoreni”.  Za Timlin su unutarnji organi kao “otkriće nove vrste životinje” ili “novog Picassa”. Dakle, nešto prijelomno, umjetničko djelo sukladno Cronenbergovu opusu hororsko-tjelesnog arta i stvaranja umjetnosti “često povezane s boli”.

Izložba modificiranih tijela kao umjetničkih djela norma je u budućnosti Cronenbergova filma jer “body is reality”, pa u jednoj sceni vidimo i nekog tipa zašivenih očiju i usta s multiplim ušima na cijelom tijelu (Tassos Karahalios), a Saul se, malo crnog humora, dvoji u vezi prijave za natjecanje u unutarnjoj ljepoti (“Što ako osvojim nagradu za najbolji originalni organ?”).

Cronenberg poseže za crnim humorom i satirom, ali je prilično ozbiljan kad je riječ o stanju planeta, budućnosti ljudske rase i opstanku čovječanstva. Neki podzapleti su višak, recimo Saulovi nalasci s policajcem iz Novih poroka (Welket Bungué; “Berlin Alexanderplatz”), a neki ne, kao kad u priču uđe otac onog dječaka s početka filma, Lang (Scott Speedman).

Lang smatra da je “vrijeme da se ljudska evolucija uskladi s tehnološkim svijetom koji smo stvorili” i da se “moramo početi hraniti vlastitim industrijskim otpadom”. Spas od najvećih “zločina budućnosti”, čovjekova uništenja eko-sustava i cijelog čovječanstva, po Cronenbergu leži u evoluciji ljudskog tijela, mogućnosti jedenja i probavljanja plastike.

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Ubrzo i u hrvatskim kinima

"Crimes Of The Future" je kupljen za hrvatsku kinodistribuciju i ubrzo bi se trebao početi prikazivati na domaćim velikim ekranima.

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StoryEditorOCM
Film & TVCINEMARK U KINU

‘Zločini budućnosti‘: Kirurgija je novi seks

Piše Marko Njegić
2. listopada 2022. - 23:36
23492078
PREMIUM
Galerija
Image Capital Pictures/Film Stills/Profimedia/Image Capital Pictures/Film Stills/Profimedia

Ručak i “body horror” film kultnog kanadskog redatelja Davida Cronenberga ne idu zajedno, osim ako posrijedi nije njegov “Goli ručak”. Zato je sreća da autor ovih redaka nije uspio ručati, hitajući na ranu projekciju Cronenbergova filma “Zločini budućnosti” (“Crimes Of The Future”) u kinu “Picturehouse Central” na londonskom Piccadillyju, serviranog baš kad je “lunchtime”. Nije uzeo ni kokice. Mudra odluka koju su, pokazalo se, donijeli i ostali gledatelji.

Svatko je u publici “Picturehouse” kina očito znao da ulazi na novi, povratnički film kralja tjelesnog horora koji prodaje “Zločine budućnosti” više od zvjezdane glumačke trojke na plakatu (Viggo Mortensen, Lea Seydoux, Kristen Stewart). Cronenberg je u novom mileniju, nakon “Pauka”, zanem...

#CINEMARK#CINEMARK U KINU #DAVID CRONENBERG#VIGGO MORTENSEN#LEA SEYDOUX#KRISTEN STEWART#PICTUREHOUSE CENTRAL#SF HORORI#BODY HORROR
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20. svibanj 2024 00:27