The Shrouds

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In awe-inspiring fashion, David Cronenberg’s “The Shrouds” opens with an image that is both bizarre and deeply moving, instantly setting the stage for its thought-provoking themes and concepts. (First person: I found myself utterly captivated by this powerful, peculiar, and emotionally resonant opening scene of “The Shrouds,” setting the stage for a profound exploration of ideas.)

Down below the earth’s surface, we find the deceased wife of inventor Karsh, bathed in light from a vibrant insect inside the coffin. This unique arrangement offers Karsh, the inventor, a clear view of his departed spouse in an underground chamber.

He lets out a deep, guttural howl of grief.

This introduction serves as either an actual segment of this storyline or a figurative representation of the movie’s underlying ideas. Regardless, the movie captured my attention from the outset right from the beginning.

In the storyline, Vincent Cassel portrays Karsh, a man who doubles as an inventor and entrepreneur. Unique among his peers, he oversees a restaurant that’s built within a vast cemetery, with a macabre theme to match its eerie surroundings. During interviews, questions about the morbid ambiance of the location and the dark decorations intended for customers are inevitable, much like a twisted version of Planet Hollywood or Hard Rock Café.

If you’re not ready yet, it might be best to exit.

Karsh intrigues the interviewer, revealing that this cemetery isn’t typical. Each gravestone here is equipped with a touchscreen, offering visitors a unique glimpse into the condition of the buried remains beneath the ground.

This is just the opening minutes of “The Shrouds.”

David Cronenberg continues to provoke and disturb us, with scenes that were so unsettling I chose not to rewatch this film. However, unlike typical horror sequels such as “Saw” or “Terrifier,” it shares a significant link with Cronenberg’s masterpiece “The Fly” (1986). This connection is evident in the graphic depiction of physical decay and the empathy Cronenberg shows for his characters.

The movie seems to be set approximately a decade from now, yet it carries a familiar atmosphere reminiscent of Cronenberg’s earlier works. The technology depicted is unsettling, as one might expect, and the dialogue is laced with dry humor, as exemplified when someone tells Karsh that his actions make them uncomfortable.

Cassel’s hairstyle mirrors Cronenberg’s signature style so closely that it seems as if we’re uncovering more about him than typical.

As a filmmaker, I’m often associated with creating movies centered around the theme of mortality, and I have a darkly humorous perspective on life. Some people label me as a “techno-atheist,” but that’s not entirely accurate. Instead, I view the human body as an intricate, complex machine, devoid of any divine essence or warm humanizing qualities – just a fascinating system to study and understand.

It might be oversimplified to claim that Karsh serves as a direct representative and that this film represents one of Cronenberg’s most personally reflective works. However, it does share, in positive aspects, many characteristic elements seen in his previous films.

https://www.youtube.com/watch?v=Qt0qJVGS0Bw

The Shrouds” is quite captivating, innovative, and heartfelt. It’s also heavily focused on dialogue and concepts, which makes it reminiscent of David Cronenberg’s “Cosmopolis” (2012), a comparison I offer as a compliment, although not everyone who saw the Robert Pattinson-led thriller might share my view. Personally, I adore that movie, even though some viewers left the theater before it ended.

The outstanding cinematography, skillfully done by Douglas Koch (previously known for his work on David Cronenberg’s “Crimes of the Future”), and the exceptional art design reach an expert standard.

Some speculate that, given he’s 82 years old now, this could be David Cronenberg’s last film – I truly hope it isn’t so. Instead, let’s acknowledge that while “Map to the Stars” (2014) might have been an uncommon misstep for him, David Cronenberg has consistently produced a remarkable collection of films. In fact, some of his finest works have emerged later in his career.

David Cronenberg has never shied away from fully expressing his creative vision in any of his films. Not even in his projects that were more commercially oriented, such as “The Dead Zone” (1983), “The Fly” (1986), and “A History of Violence” (2005), did he compromise the unsettling themes, raw vision, and human struggles characteristic of his work.

Among David Cronenberg’s films, I particularly enjoy “Spider” from 2002, followed by “Eastern Promises” in 2007, then “M. Butterfly” released in 1993, and most recently, “Crimes of the Future” from 2022.

Cronenberg’s films have consistently been shocking, with iconic images like exploding heads from “Scanners” being a testament to this fact. Yet, his recent works showcase an unwavering expertise in filmmaking and a fearless approach to depicting the depths of his dark imaginations.

I found “The Shrouds” promising throughout, but unfortunately, it loses some steam towards the end. Similar to many of Cronenberg’s other works, this piece delves into deception, but in this case, the intricate conspiracy plot becomes overbearing and overshadows the emotional heart of the narrative.

In a more straightforward manner, “Crimes of the Future” encountered a similar issue, as the concluding disclosure seemed somewhat hurried and unnecessary, rather than contributing to the overall flow of the story.

In this film, the mystery element overshadows the main point of interest, which was masterfully introduced during the initial segment and left us utterly captivated. Unfortunately, the intrigue surrounding espionage and conspiracies in “The Shrouds” isn’t necessary, as the movie itself doesn’t require it.

Everything else here is so compelling.

Cassel is an excellent selection for Karsh’s role, but it’s the side performances that truly captivate the film. Kruger portrays Karsh’s wife and two other characters, one being a likable AI assistant. Kruger masterfully infuses human qualities into three unique roles, making each one engaging to watch. Guy Pearce delivers an impressive performance as a seedy, unappealing character, reminiscent of Paul Giamatti’s stellar portrayal in “Cosmopolis” and Ed Harris’ role in “A History of Violence.

In time, I plan on rewatching “The Shrouds,” following my usual practice of viewing David Cronenberg’s movies. However, I feel that the conclusion doesn’t pack as much punch as the initial development. Nonetheless, similar to his previous works, Cronenberg continues to provide us with thought-provoking imagery that lingers in our unconscious mind.

Like it or not, there is no forgetting a film by David Cronenberg.

Three Stars (out of four)

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2025-04-25 20:03