I Want To Eat The Deadly Plastic Candy Bar From Crimes Of The Future
This article contains spoilers for Crimes of the Future.
David Cronenberg's new body horror film, Crimes of the Future, begins with a young boy sitting on the shore of a lake. His worried mother appears at the doorway in the house behind him and warns him that he better not eat any of the junk he finds in the water. Later, we see the boy pick up a trash can and chow down on it, biting off pieces of plastic like the brittle chocolate of a hollow Easter bunny.
The mother is upset, and, once he has fallen asleep that night, she approaches the boy in his bed, takes a pillow in her hands, and smothers him. In the morning, she calls her ex-husband to tell him to pick up the corpse of his "creature."
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This is the movie's first scene, and we won't return to these characters for quite some time. Instead of providing context for this strange scene, the film switches focus to Viggo Mortensen's Saul Tenser and Lea Seydoux's Caprice, performance artists who stage live surgeries for a paying audience. In this vague near-future, Tenser's body has evolved to the point that it consistently produces novel organs. Leaving them in place would likely kill him, so the pair make art out of controlling the growth. Seydoux operates a whirring rig of scalpels by pushing on a gushy control panel, roughly the size, shape, and texture of a bulbous adult bullfrog.
In this world where pain has virtually ceased to exist, taking a knife to someone's flesh has become a sensual experience. As Kristen Stewart's twitchy Timlin, one of two employees for the newly formed (and apparently understaffed) National Organ Registry, memorably whispers in Tenser's ear, "Surgery is
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