By Jake Howell jake.howell@utoronto.ca

Countdown To Cannes: David Cronenberg

The fifth in a series of snapshots outlining the nineteen directors in the 67th Palme d’Or Competition.

Background: Canadian; born in Toronto, Ontario 1943.

CronenbergKnown for / style: Videodrome (1983), Crash (1996), A History of Violence (2005), Cosmopolis (2012);  an evolving canon of films that are often cerebral, experimental, or otherwise disturbing; subversive spins on the mundane; themes of existential angst and domestic crises; body horror.

Notable accolades: Cronenberg’s informal title as Canada’s most distinguished filmmaker has been more or less built by North American critics. At Cannes, he absorbed a Special Jury Prize for Audacity for Crash, and in 2006, he was given the “Golden Coach” award by the Festival, a lifetime achievement prize. He’s won a plethora of local Genie awards, he’s a two-time winner of the National Society of Film Critics’ (USA) Best Director award (A History of Violence and Naked Lunch), as well as a Best Screenwriting award (Naked Lunch), and he’s been paid countless dues by LAFCA, NYFCC, and the TFCA critic societies. In 2013, the Toronto International Film Festival showcased a major exhibition on his life’s work, “David Cronenberg: Evolution.”

cusack map to the stars

Previous Cannes appearances: DC’s Palme pitches include Crash (1996), Spider (2002), A History of Violence (2005), and Cosmopolis (2012). In 2007, he participated in the auteur pantheon Chacun son Cinéma (Out of Competition). In 1999, he was President of the Jury.

Film he’s bringing to Cannes: Maps to the Stars, with Julianne Moore, Robert Pattinson, John Cusack, Mia Wasikowska, Sarah Gadon and Olivia Williams. The film unfurls as a commentary on both Western civilization and the entertainment industry, centering on an archetypically “famous” family with some unusual complications and bizarre twists. Robert Pattinson will spend more time in a Cronenbergian limousine, while Bruce Wagner’s script will feature his signature criticisms of Hollywood. (“Reality shows are the new American narcotic.”)

Could it win the Palme? We can divine a fair amount from gazing at the film’s trailer. Cronenberg’s more recent cinema has a discursive, nihilistic, distant, perhaps sterile feel, with A Dangerous Method (2011) and Cosmopolis landing divisively amongst critics. That aesthetic seems to be the case again in Maps to the Stars, and while there is more to these films than the lazy dismissal of them being “talky,” Jane Campion’s jury constellation might align differently.

MapstothestarsWhy you should care: “I infect my work with madness, then let it settle,” Bruce Wagner told LA Weekly in 2005 when his satirical Hollywood novel, “Dead Stars,” was released. “The story is infected by something, like in David Cronenberg’s films.” Ten years ago, after a decade of working on a script inspired by his time as a Hollywood limo driver (like Pattinson’s character in Maps), Wagner showed his work to Cronenberg. They’ve been trying to make this film ever since, eventually finding an A-list cast to join them. And if you’re a Twilight fan, you already care: this is Cronenberg’s second film with Robert Pattinson, an unlikely acting-directing partnership that nonetheless feels very appropriate. This is also Sarah Gadon’s third feature with Cronenberg, and starring in a film about the entertainment industry seems fitting as the Canadian actress continues to find fame.

An unauthorized-for-distribution version of the red-band trailer is here.

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One Response to “Countdown To Cannes: David Cronenberg”

  1. Fredrik says:

    Jake Howell, you know that is not David Cronenberg pictured there? Even if John Cusack is in Cronenbergs latest film wouldn´t it be nice to have a photo of THE ACTUAL DIRECTOR this article is about?

Quote Unquotesee all »

“BATTLE OF THE SEXES: Politics and queerness as spectacle/spectacle as politics and queerness. Pretty delightful, lovely, erotic. A-

“Not since EASY A and CABARET have I seen Emma Stone give a real sense of her range. Here, she has pathos and interiority and desire. I love the cinematography and the ways in which the images of the tennis icons are refracted and manipulated via various surfaces/mediators. Also, wild how a haircut is one of the most erotic scenes in cinema this year. Spine tinglingly tactile that feels refreshing. Proof that *cough* you don’t need to be ~graphic/explicit~ to be erotic *cough*. Also, it made me want to get into tennis. Watching it, at least.

“There are interesting touches and intimations as to the cinematic nature of sports, & unpacking the formal approach of broadcasting sports.Also, I was here for Sarah Silverman smoking. And also, hi Mickey Sumner!! It’s a really interesting film about the ways in which public spectacle is never apolitical, and how spectacle is prone to assignation.

“There’s this one other scene from BATTLE OF THE SEXES that I love, and it’s the one in the bar. You see Billie looking after Marilyn as she dances. Through a crowd. There’s a paradoxical closeness and distance between them. In the purple light, and the kitschy decor, everything is distorted. But Billie catches a glance and you can feel the nervous swell inside.”
~ Kyle Turner

“Our business is complicated because intimacy is part and parcel of our profession; as actors we are paid to do very intimate things in public. That’s why someone can have the audacity to invite you to their home or hotel and you show up. Precisely because of this we must stay vigilant and ensure that the professional intimacy is not abused. I hope we are in a pivotal moment where a sisterhood — and brotherhood of allies — is being formed in our industry. I hope we can form a community where a woman can speak up about abuse and not suffer another abuse by not being believed and instead being ridiculed. That’s why we don’t speak up — for fear of suffering twice, and for fear of being labeled and characterized by our moment of powerlessness. Though we may have endured powerlessness at the hands of Harvey Weinstein, by speaking up, speaking out and speaking together, we regain that power. And we hopefully ensure that this kind of rampant predatory behavior as an accepted feature of our industry dies here and now. Now that we are speaking, let us never shut up about this kind of thing. I speak up to make certain that this is not the kind of misconduct that deserves a second chance. I speak up to contribute to the end of the conspiracy of silence.”
Lupita Nyong’o