This year, David Cronenberg brought a new film to the Cannes film festival: COSMOPOLIS. The film is an adaptation of Don Delillo’s 2003 novel.
- “New York is in turmoil, the age of capitalism is drawing to a close end. Eric Packer, a young high finance golden boy, dives into a white limousine. While a visit from the President of the United States paralyses Manhattan, Eric Packer has one obsession: getting a haircut at his barber’s at the other end of the city. As the day goes by, chaos sets in, and he watches helplessly as his empire collapses. Also he is sure that someone is going to assassinate him. When? Where? He is about to live the most decisive 24 hours of his life.”
Many fans of Delillo and Cronenberg are excited to see the two merge onscreen. Cronenberg is well known for The Fly, Crash, A History of Violence, Videodrome, and The Dead Zone. He likes to work in the art of horror, mutation, explicit carnage, and the use of dark backgrounds. He seems to be the best director for bringing COSMOPOLIS to life. According to Psychologies, a well respectable Russian magazine, gives COSMOPOLIS 4 out of four stars.
- “Cosmopolis- , expressive, gloomy/impenetrable without illusions -it mostly reminds us of Edvard Munch’s painting “The Scream” and you should agree that not often do we feel like comparing modern films with real pieces of art.”
The film premiered Friday, May 25, and received a 15 minute standing ovation. Reviews seemed to be mixed, but overall were positive of both Cronenberg and it’s lead star, Robert Pattinson.
- “Working here with a spare, episodic narrative and dialogue that teems with heady ideas, Cronenberg adopts a direct, scene-by-scene approach that crucially nails the novel’s tone of archly stylized pessimism.” –Variety
- “Despite being a small-scale and intimate project, Cronenberg doesn’t leave his directorial flair with the valet parking staff, he makes the film a visual whirlwind of weird and wonderful. The picture heavily relies on colour and strong exhibition and Cronenberg’s camera fails to miss even a stitch of the leather upholstery. But the film’s true driving force (excuse the pun) is Pattinson’s utterly fearless, audacious and sizzling performance.” –Filmoria
Please join us for a discussion Tuesday 5/29/2012@7pmE/12UTC