The author of this article is written by @Ji Yong green
Hungry and lazy, does not love labor, only loves movies
One of the biggest events in the film industry last week was the announcement of the main competition unit of the 75th Cannes Film Festival.
Many new films are full of topics, such as "The Determination to Break Up" cooperated by Tang Wei and director Park Chan-wook.
This is her fourth time to join the Cannes Film Festival after "Color Ring", "Wuxia" and "The Last Night on Earth", and it is also the second time she has starred in a Korean film after 10 years after "Late Autumn".
Park Chan-wook, known for his "Revenge Trilogy", was shortlisted for the Cannes Film Festival for "Old Boy", "Bat" and "Miss". The new film "Determination to Break Up" still tells a foggy emotional story.
The South Korean team sent Park Chan-wook to play, and the Japanese team moved out of the festival regular hired Hirokazu Kore-eda.
Kore-eda brought a new film called "Broker", which is also his sixth time to enter the main competition unit of Cannes, the previous 5 works are: "Distance", "Nobody Knows", "Like Father Like Son", "Sea Street Diary", "Thief Family".
"Broker" tells the story of abandoned children, and the actors are even more exciting to fans, including Song Kang-ho, Bae Doona, IU and other popular Korean actors.
Two Iranian directors were shortlisted: Ali Abbasil's "Holy Spider" and Saeed Rustayi's "Lyra's Brothers". The Holy Spider is a crime thriller, and Lyra's Brother is a drama.
Then look to Europe.
Russian director Kirill Serembrennikov ("Midsummer", "Petrov's Flu") was shortlisted for Cannes with his new film Antonina, a biopic of Tchaikovsky's wife. Previously, he did not arrive in Cannes because he was restricted from leaving The Country by Russia, and whether he will attend this time is still unknown.
In France, female director Claire Denis' "High Noon Star" was shortlisted, and she has been a regular guest at the Venice and Berlin Film Festivals in recent years, representing "Forbidden Love in the Army".
Arnold Deplerchahn's "Brothers and Sisters" was shortlisted, and the film was "good-looking", with the goddess Marion Cotillard and the male goddess Melville Pobo picking the beams.
However, in this year's main competition unit films, Xiaowan's most anticipated and most curious new film is the latest work of the nearly 80-year-old Canadian director David Cronenberg, "Future Crimes".
Future Crimes stars "Uncle V" Vigo Mortensen (The Lord of the Rings, Green Book), "Ray's Teacher" Leia Saidu, and "Little K" Kristen Stewart.
Uncle V has previously collaborated with Cronenberg on films such as "The Promise of the East" and "History of Violence", and I have to say that the director really knows how to make his charm.
"Future Crimes" continues Cronenberg's obsession with the "body" and tells the story of the near future when people begin to learn to adapt to their environment, accelerate their evolution, and even begin to deform their bodies and grow strange new organs.
After the list was announced, "Future Crimes" also took the lead in releasing the trailer, with a strange style and a huge amount of information.
In the dream-like repetition of "It's time to stop talking, it's time to start pouring out," Uncle V is naked, waiting for the operation under the precision instrument.
The media people in the audience carried cameras and began to record in amazement.
It seems that this should be the main line of the plot. Uncle V, a performance artist, embraces evolution, only to find himself growing new organs.
Together with his partner, Mr. Lei, he performed the process of removing new organs in front of the public, but the development of the world is unpredictable.
From the flashes of footage in the trailer, we can guess that something unexpected happened in the side line. The organ registration investigator played by Xiao K asked Teacher Lei: "Do you want to kill your partner?" Implicit here should be an unspoken story between the performance artist and his partner.
In addition, there are many disturbing and grotesque scenes in the trailer: sharp instruments penetrate the skin texture, and unknown creatures that resemble multi-legged insects hang upside down on the ceiling;
Children nibble on plastic utensils, a pair of ears grow on their foreheads, and people's eyelids and lips are tightly sewn with needles and threads...
Kornenberg, who has made business cards such as "Fly Changer" and "Sensory Game", just released the trailer, which has made the audience crazy.
"Crimes of the Future" is a surprise that was expected and reflects the aesthetic style that Cronenberg is best at.
First, there is physical terror.
The so-called physical terror refers to the sense of fear brought about by the active or passive destruction of the body. Visual effects such as flesh damage, decay, parasitism, and mutations often appear in the film.
Cronenberg excels at adding, subtracting or collage on body organs.
In her masterpiece of the 1970s, Rabies, the heroine has a mouth shaped like a genital organ under her armpit, with flesh thorns and fangs in her mouth to suck blood when hugging others.
The parasite in "Creepy Bones" lives in the human body and pierces his stomach, revealing a fecal and intestinal-like body.
In "Spirit Baby", the heroine has a tumor in the shape of a uterus on her belly, and can give birth to a villain without retina.
Another form is human variation. In the familiar "Fly Man", the doctor mistakenly synthesized his genes with flies, which initially showed the characteristics of fly people's high energy, and then gradually alienated into a pile of rotten flesh that was not human and flies were not flies.
"Naked Lunch" recreates the "Gregory becomes a beetle" imagination, turning people and typewriters into insects.
Compared with these brain-opening body horror films, the picture presented in the trailer in "Future Crimes" is relatively "mild".
Of course, it is also possible that Konenberg hid the most grotesque and high-energy picture in the main film.
Second, the theme of Cronenberg's ever-expanding films is: reflection on technology and the search for identity.
"Murder on Videotape" shows the concern about the television medium, and the videotape can spread the "brain tumor" virus, thus making the viewer hallucinate. The protagonist shoves the gun and the videotape into his stomach, and his thinking changes accordingly.
While pursuing visual spectacle, the film also indicts the medium that exists as nipple music.
Metropolis constructs a high-tech doomsday picture. On his way to the haircut, Fuerdai encountered strange passers-by and landscapes. The highly civilized future society is also like a dream bubble version that is broken at once.
Pattinson in Metropolis
Films such as "The Evil Buckle", "Butterfly King", and "The Promise of the East" contain Cronenberg's inquiry into the identity of the subject.
The Villains feature twins who sometimes play games that play as each other. There seems to be an invisible umbilical cord between brothers, and women are the tools of their water and milk.
Although the film also appears in the film to "bite off the imaginary umbilical cord", the foothold lies in the exploration of the identity of the mirror self.
In "Butterfly Jun", Zun Long plays the Peking Opera actor who "An can distinguish between male and female", he is "Madame Butterfly" on stage, and sometimes a woman and sometimes a man offstage.
The French garrison in China has feelings for him, but is he or she in love with him? From the opera "Madame Butterfly" to the movie "Butterfly King", it can be seen that Cornenberg's deep thinking on gender relations can be seen.
The male protagonist of "Promise of the East" is Uncle V in "Future Crimes", and this film is almost Uncle V's personal show, and he injects vitality into the mafia stories that are not new.
Just as the nurse played by Naomi Watts chooses identity between Russia and Britain, Uncle V also has the dual identity of an undercover cop-gang member.
His life is on the brink of good and evil and will continue to make choices.
By looking back at the above old works, you will find that in the latest film "Future Crimes", the iconic style and theme of Cronenberg's films have been continued.
The new work not only involves the aesthetics of physical horror, but also continues to think about the future of people and technology, and how people who have been transformed by technology recognize identity.
"Crimes of the Future" will be screened at the Cannes Film Festival in mid-to-late May, and it will also be the largest work in Cannes this year, and I hope that Konenberg will have a smooth harvest of good luck.
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