In the near future, Saul Tenter and his partner, Caprice, are specializing in an unusual type of artistic performance, namely the growth and then the ablation in front of an audience of new organs. But now their clandestine practice is attracting the attention of officials from the newly created National Organ Registry. Like what governments also have the ability to develop growths. Showing on Friday, Crimes of the Future (The crimes of the future) represents, in many ways, the epitome of David Cronenberg’s cinema. We discuss it with the main interested party and his long-time accomplice, actor Viggo Mortensen.
Crimes of the Future marks their fourth collaboration, but the filmmaker explains that he had his eye on the actor long before their first film, A History of Violence (A history of violence2004).
“I remember noticing Viggo in Witness [Témoin sous surveillance, 1985], by Peter Weir. It’s funny, and I don’t think I’ve mentioned it before, but at the time, I was approached to direct this film: the title then was Cold Home… “
The revelation makes Viggo Mortensen smile, who confides in return: “It’s funny that you mention Witness, because I really liked Peter Weir’s calm and organizational skills. Except that after that, most — not all, but most — of my on-set experiences were chaotic, with screaming and all that. Until that first shoot with you. On A History of Violence, I found this serenity, this remarkable precision. »
However, this fruitful professional relationship that turned into a friendship almost never saw the light of day. Indeed, the initial meeting between the two men announced nothing of the sort.
“We had this lunch to talk aboutA History of Violence, says the filmmaker. And I was left with the impression that Viggo hadn’t liked me very much. What I told my agent. But he had just spoken to Viggo’s agent, who was on the contrary thrilled! »
“Maybe because we were both intimidated, we projected something other than what we felt,” adds the actor.
What we hide
Coincidence, this is one of the key components of the work of David Cronenberg, whose protagonists willingly conceal a part of themselves, even their complete personality. Crimes of the Future is no exception. Same as, as in Scanners (nineteen eighty one), Videodrome (1983), naked lunch (The Naked Feast1991), Mr Butterfly (1993) and Eastern Promises (Shadow promises2007), we find the recurring figure of the double agent.
In fact, in the near future where the action takes place, a fringe of society – a bit like Saul, but without the artistic inclinations – has developed a different digestive system better adapted to pollution and devastation. ambient. For the authorities, these individuals are no longer human beings and their existence must be killed.
“I love spy stories,” says the filmmaker. More so those with a clandestine component. I think it stems from my fascination with the notion of identity. Identity is at the heart of my work. Someone who works underground, who composes another identity, then another, doesn’t he risk losing his own by wanting to become a better double agent? »
For Viggo Mortensen, playing characters who repress a part of themselves (or outright hide who they are) is an added appeal. It becomes a bit like a game within a game.
“You know, we all adopt different personalities at heart every day,” he notes. As soon as we get up in the morning, we put on a personality, then we change it according to the people we meet. You’re not quite the same person depending on whether you’re with your mother, a friend or — I don’t know… — a policeman. We always hide a part of ourselves. »
layers of meaning
Besides that of identity, the theme of evolution is prevalent. Evolution of bodies, mores, sexuality…
After the New Flesh (“ the New Flesh “) of Videodromewe have the right to a new sexuality (“ the New Sex “). Thus surgery replaced what Saul at one time called “the old sex”. With all these novel organs, enzymes and orifices, one successively thinks of Rabid (Rage1977), The Brood (The Clinic of Terror1979), The Fly (Fly1986) and eXistenZ (1999)… Caprice manipulates the phallic blades which cause genital notches to appear on Saul’s body, and vice versa, in a type of love scene that we had never seen in the cinema before. This is Crash (1996), thousandth power.
“You’re right about these links to my previous films, they’re there, but it’s totally unconscious on my part. On the contrary, when I tackle a project, I try to forget everything else, all my past films. Because thinking about it brings me nothing, creatively, for the current project. I’m not self-referential: I’m arrogant, but not to this extent”, jokes David Cronenberg before continuing more seriously: “But I have the sensitivity that I have. I know that there are and will always be subterranean connections between each of my films, even those that are apparently separate. »
An example of this then arises: when asked why he set the plot in the middle of performance, the director immediately mentions one of his previous films, Scanners. One of the characters is a sculptor who calms his uncontrolled psychic gifts with his art.
“I have always been drawn to the art world. And in a way, it allows me to have an alter ego. I never wanted to make a film about cinema; there are some very good ones, but that means nothing to me. I prefer to discuss my art through other genres of artists. In the background, Saul, in Crimes of the Future, that’s me: with each film, I reveal my guts, metaphorically, what he literally does in his practice. It’s like saying, here, I present to you what I have most intimate. It is a state of intense vulnerability…”
Concentrating on his friend’s words, Viggo Mortensen nods.
“You know, often when I see films that I like, I don’t find them as successful. I still appreciate them, but I notice their flaws, or their simplicity, or their superficiality. With David’s films, it’s the opposite: I keep discovering layers of meaning. He is often ahead of his time. Reading the script for this film, I perceived a commentary on censorship, on repression, on buried desires as well… I’m sure that each time I see it again, I will discover elements that had escaped me. It’s very rare. »
We can not say it better.