‘The Shrouds’ Review: David Cronenberg Makes a Movie About Grief — and Body Horror, and Digital Gravestones — That in Its Somber Way Verges on Self-Parody

Ariana Madix and Katie Maloney had a very special visitor at Something About Her!

Andy Cohen is jokingly calling out Anderson Cooper‘s seemingly perfect family.

Owen Gleiberman Chief Film Critic If you want to know how the definition of “scandal” has changed with the decades, you couldn’t do much better than to see “Taking Venice,” Amei Wallach’s highly enjoyable and revealing documentary about a legendary uproar in the art world. The film chronicles what happened at the 1964 Venice Biennale — the exhibition of contemporary art, held every two years, that culminates in the awarding of an esteemed grand prize. At the time, the Biennale was considered to be a kind of art-world equivalent of the Olympic Games.

Vanity Fair France has commented after editing a photo of Guy Pearce at the Cannes Film Festival wearing a pin of the Palestinian flag.

Zack Sharf Digital News Director Vanity Fair France apologized for a photo in which a Palestine pin that Guy Pearce was wearing on his suit was edited out (via CNN). Pearce attended this year’s Cannes Film Festival in support of David Cronenberg’s competition entry “The Shrouds,” in which he stars opposite Vincent Cassel and Diane Kruger.

French producer Dimitri Rassam is enjoying a high-profile Cannes Film Festival as producer of Competition title Limonov: The Ballad and The Count Of Monte Cristo, which scored a rousing 12-minute ovation at its Out of Competition debut.

Anora” on Wednesday, Sean Baker discussed his affinity for making films about sex workers — and teased his next film. “Anora,” which premiered at the film festival on Tuesday, follows a strip club worker who falls in love with the son of a Russian oligarch.

Diane Kruger is opening up about how she landed her role in David Cronenberg‘s arthouse horror film The Shrouds.

There was an eight-year gap between the release of David Cronenberg’s “Maps to the Stars” and “Crimes of the Future.” Thankfully, we didn’t have to wait that long for his newest feature, “The Shrouds.” READ MORE: ‘The Shrouds’ Review: David Cronenberg Digs Into The Core Of How Messy Grief Can Be [Cannes] With “The Shrouds” debuting at Cannes, we now have our first teaser for the sci-fi drama from director David Cronenberg.

Grief is rotting Karsh’s (Vincent Cassel) teeth. It’s been four years since he lost his wife, the beautiful Becca (Diane Kruger), to a violent form of bone cancer that ate away at her body until her brittle frame could no longer sustain life.

David Cronenberg is a filmmaker who has created his own brands of sci-fi for quite some time. But even a filmmaker like Cronenberg, someone who has dreamed up what the future could look like, is amazed at what technology is capable of today, specifically artificial intelligence (A.I.).  Speaking at the Cannes Film Festival (via Deadline), where he recently premiered his latest sci-fi feature, “The Shrouds,” David Cronenberg talked about the emergence of A.I.

When it comes to whether AI is friend or foe, particularly in regards to its place in the film industry, David Cronenberg is both intrigued and terrified. “What do we do? I have no idea,” the Canadian horror sci-fi maestro said Tuesday at the Cannes Film Festival, the day after the world premiere of his new film The Shrouds.

Ellise Shafer David Cronenberg weighed the pros and cons of artificial intelligence in filmmaking at the Cannes Film Festival press conference for his latest film, “The Shrouds,” on Tuesday. Though Cronenberg said that technological advancements like CGI have “made filmmaking much easier” in terms of tasks like removing coffee cups from footage, he admitted that it’s “quite shocking … to see what can be done even now with the beginnings of artificial intelligence.” Speaking of Sora, the new AI software that can generate motion pictures, Cronenberg said it has the potential to “completely transform the act of writing and directing.” “You can imagine a screenwriter sitting there, writing the movie, and if that person can write it in enough detail, the movie will appear. The whole idea of actors and production will be gone.

Susan Boyle looked completely unrecognisable as she walked the red carpet at The Pride of Scotland Awards at The Hilton Hotel in Glasgow last night (May 21).The singer smiled for photographs and wore a stunning pale pink jumpsuit that was embellished with feather sleeves and paired it with silver accessories. Susan wore her hair in a sleek bob and opted for glowy make-up.

Diane Kruger is looking stunning on the 2024 Cannes Film Festival red carpet!

When his wife died, Karsh tells the blind date he has asked to lunch, he had an overwhelming urge to jump into the coffin with her rather than see her sent away alone. Instead, he contrived a way to straddle the worlds of the living and the dead, setting up a luxury cemetery where the dead are wrapped in metallic shrouds that are like camera blankets. Above ground, there are screens over each grave on which you can watch your loved one disintegrating.

Ellise Shafer David Cronenberg’s “The Shrouds,” the horror auteur’s latest film about a widow who invents technology to see inside his late wife’s grave, received a 3.5-minute standing ovation at its Cannes premiere on Monday night. The crowd showed their respect for Cronenberg with the applause, but it was nowhere near rapturous as audience members digested the film, which is a departure from Cronenberg’s usual out-of-the-box body horror. Instead, “The Shrouds” is a thoughtful exploration of grief, and though there are several gross-out moments, the film relies on emotion more than anything.

Owen Gleiberman Chief Film Critic Shocking and resonant, disarmingly grotesque and weirdly fun, “The Substance” is a feminist body-horror film that should be shown in movie theaters all over the land. By that, I don’t mean that it’s some elegant exercise in egghead darkness like the films of David Cronenberg, or a patchy postmodern punk curio like “Titane.” Coralie Fargeat, the writer-director of “The Substance,” has a voice that’s italicized, in-your-face, garishly accessible and thrillingly extreme.

Strange but true: after 15 years as an international movie star, propelled to fame in 2004 by Wolfgang Petersen’s historical epic Troy, German-born Diane Kruger won the Best Actress award in Cannes for her first-ever performance in her native language. Fatih Akin’s provocative 2017 drama In the Fade, in which she played a widow consumed by revenge after a terror attack, revealed an unexpectedly tough new side of her glamorous persona.

Alex Ritman Julianne Moore says the film industry has “changed dramatically” since she started out in the early 1990s when it comes to female representation. Speaking as part of Kering’s Women in Motion program at the Cannes Film Festival, the Oscar winner said one of the most noticeable differences is when it comes to career longevity for actresses. “Meryl [Streep] said this too the other day [during the festival’s opening ceremony], this idea that when she was 40, she thought it was all going to be over,” she said.