David Cronenberg It is unparalleled in terms of physical horror. In short, he is the king. This is not to say that he just generates some of the most disturbing images of the business about form and shapes our bodies when they take biological shifts in society. They always point to the vision of human confrontation, which shows that our development is on the one-way street towards monsters. Cronenberg is more than just a crowd of viewers. He hoped that they thought that human evolution, strength, and perfection were never meant to produce more pleasing versions of ourselves. Instead, they are ugly and chaotic processes that almost always lead to a traditionally unattractive physical transformation.
Starting April 1Yingshithis Standard channels Will provide opportunities for fans and new immigrants to explore Cronenberg shroud (To be released on April 25thTh nationwide). Movies that will appear in the spotlight include stereo (1969), Future crime (1970), fanaticism (1977), Cultivate heart (1979), Fast Company (1979), Scanner (1981) and Dead ringtone (1988).
For those who are not fully proficient in Cronenberg, the series is a great education, telling the horror way the director bent over and tells the horror way that requires a unique way to tell the story. exist Cultivate heartchildbirth and maternity propose a strange symbiosis, which thinks that newborns become parasitic vampires, requiring their parents to remain close to their bodies. In a sense, it’s about the little monsters we breed, but from a deeper perspective, it’s also part of how biological monsters ask parents to give up their biological integrity in the process.
This is not even compared to the effect of body horror Dead ringtonein which twin gynecologists use their essentially identical appearance to infringe on the patient’s trust and body privacy. Here, the body hides the monster under normal conditions. There is no external disfigure or weird angle to give them up. Monsters are invisible to a certain extent. However, in this case, it is the qualities of the twins and their relationships that resemble Dopitelger and their relationships, which shows what I mentioned earlier about Cronenberg’s ability to use different aspects of the language to make unique narratives.
Kroenberg’s latest movie, shrouddeath-centered and our relationship with the bodies of loved ones, is related to grief. A widow entrepreneur created a machine that allows people to communicate with the nearest dead. The invention is called a shroud, and everything points to it, creating a new problem of existence, thus damaging the acceptance process. Another version of the Body Horror movie is more about how we change after death with the human body and how we are willing to entertain to resist these changes, even if it means questioning the concept of life and its stubborn assurance.
It turns out that standard channels have the ability to organize a collection of complexity and style changes in commemorative themes. They recently David Lynch After his death, they continued to do this with genre and theme products. With Cronenberg, the audience gained a very precise understanding of the origins and classics. Fans will be reminded of why the director is a true master of body horror, while new immigrants may find a new favorite director.
