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 »

“Film festivals, for those who don’t know, are not exactly the glitzy red carpet affairs you see on TV. Those do happen, but they’re a tiny part of the festival. The main part of any film festival are the thousands of people with festival passes hanging on lanyards beneath their anoraks, carrying brochures for movies you have never and will never hear of, desperately scrabbling to sell whatever movie it is to buyers from all over the world. Every hotel bar, every cafe, every restaurant is filled to the brim with these people, talking loudly about non-existent deals. The Brits are the worst because most of the British film industry, with a few honourable exceptions, are scam artists and chancers who move around from company to company failing to get anything good made and trying to cast Danny Dyer in anything that moves. I’m seeing guys here who I first met twenty years ago and who are still wearing the same clothes, doing the same job (albeit for a different company) and spinning the same line of bullshit about how THIS movie has Al Pacino or Meryl Streep or George Clooney attached and, whilst that last one didn’t work out, THIS ONE is going to be HUGE. As the day goes on, they start drinking and it all gets ugly and, well, that’s why I’m the guy walking through the Tiergarten with a camera taking pictures of frozen lakes and pretending this isn’t happening.

“Berlin is cool, though and I’ve been lucky to be doing meetings with some people who want to actually get things done. We’ll see what comes of it.”
~ Julian Simpson 

“The difference between poetry and prose, and why if you’re not acculturated to poetry, you might resist it: that page is frightening. Why is it not filled? The two categories of people who don’t feel that way are children and prisoners. So many prison poets; they see that gap and experience it differently. I’m for the gap!”
~ Poet Eileen Myles