Not resting in peace...
The master of ‘body horror’ David Cronenberg delivers his latest entry into this genre with The Shrouds, which is actually more of a sci fi/psychological thriller than a horror film. Cronenberg, best known for classics like The Fly, Videodrome and Scanners, returns to his usual themes of interactions between technology and the human body, sexuality, grief and the effect of all these on states of mind. The plot takes a number of absorbing turns to challenge the audience.
The film begins years after the death from cancer of tech entrepreneur Karsh’s (Vincent Cassel) wife, Becca (Diane Kruger). Karsh has invented 3D interactive imaging technology whereby a corpse is wrapped in a special shroud in the grave and family members can watch the corpse during its stages of decomposition. Becca has been buried utilising this technology in a double plot which Karsh intends to fill after his death. He dreams of Becca in worsening stages of bodily decline as her illness progressed and she received treatment from her attending doctor. Karsh has maintained a close friendship with Becca’s identical twin Terry (also Diane Kruger) as he searches for new love.
Some of the graves at Karsh’s companies cemetery which are utilising the technology are vandalised and the technology hacked such that the imaging of the corpses can’t be accessed. Karsh consults Maury (Guy Pearce) who was involved in the security of the technology and the creator of Karsh’s virtual assistant Hunny (again Diane Kruger). Maury is also the ex-husband of Terry and is still in love with her. Karsh meets Soo-Min (Sandrine Holt) the blind wife of a CEO who wants to bring the technology to Budapest and they begin a relationship as he and Maury investigate the hacking. The twists commence as the search continues.
The Shrouds is semi autobiographical as Cronenberg chronicles the stages of his own grief with the loss of his wife, Vincent Cassell is even stylised to resemble Cronenberg. Cassell’s performance is solid in the main role and Kruger, in her three roles, is very good as well. Australia’s own Guy Pearce once again proves what an excellent character actor he is in the role of Maury. Cinematographer, Douglas Koch, renews his relationship with Cronenberg working on his last project as well and does a first-rate job in delivering Cronenberg’s vision.
Cronenberg is now in his eighties but is far from faded. The Shrouds, in its many turns, is a good example of his still active and fascinating mind. In typical Cronenberg form however, the film’s many pivots may prove too many for some.
Reviewed by Rob McKinnon
