In the film, a mysterious network of assassins is able to take over people's brains, using any random person's body to carry out vicious murders.The blood starts spilling early. Not a minute in, and Cronenberg treats us to an image of a hapless young waitress’s head being penetrated by an electrode, right before she strides into Toronto’s casino-dark Bisha Hotel and stabs some random big shot two dozen times.
The lines between control and autonomy blur fantastically when Tasya takes on her next assignment: hijacking the mind and body of drug dealer Colin so that he can kill his girlfriend’s father, a callous Jeff Bezos type who operates that dystopic corporation on Front Street.
Cronenberg illustrates this tension in a wonderfully abstract fashion, stretching skin and melting faces under the glare of toxically yellow camera flares. And by employing digital technology only in the margins of the film – most of the effects are done in-camera – the liminal and extremely un-real world that exists between the minds of Colin and Tasya becomes startlingly present and tactile.
, then you’re not too far off. While Brandon has stressed in interviews that he pays no mind to comparisons between his work and that of his father – “It’s something inescapable ... I’m just making films that are honest to my own creative impulses and interests,” he told me – it is hard to dismiss the influence that David has had.
Aside from the family’s shared affinity for finding new and novel ways of ripping bodies apart, there are noticeable echoes between the generations on everything from operating-room theatricality to how best to depict technology . Brandon even casts
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