![]() ![]() In the world of Crimes of the Future pollution and climate change have not only resulted in organic technology that can bond directly with the human body but the eradication of physical pain and infectious diseases in most humans. In the introduction to Cronenberg on Cronenberg Chris Rodley articulates these as “medical science’s misunderstood endeavours to assist the evolutionary process the body’s capacity to respond independently with transformation, mutation and its own creative diseases descent into familial, societal or bodily chaos”. ![]() We’re watching a mirror image of our own discomfort, writhing and squirming in our cinema seats like Saul, because even in his twilight years, few directors can make an audience suffer on the rack like David Cronenberg can.Ĭronenberg’s fourth collaboration with Mortensen retains his deepest obsessions. Squint and we could be taken back to Mortensen’s bit part in Carlito’s Way as the paralysed mobster Lalin, twitchy and desperate, but Saul embraces his agony as he is fed by his infernal contraption. ![]() ![]() Saul has difficulty digesting his food and the chair forcefully manipulates his body into painful angles to allow him to eat. There are many indelible images in David Cronenberg’s Crimes of the Future but none so tortuous as Viggo Mortensen’s performance artist, Saul Tenser, contorted on a feeding chair grown from bone and gristle. ![]()
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