Vincent Cassel & David Cronenberg Reunite For Supernatural Film ‘The Shrouds’

David Cronenberg’s latest deep dive into body horror, “Crimes Of The Future,” had its world premiere in competition at the Cannes Film Festival earlier this week (read our review here). And it looks like the Canadian auteur’s first film since 2014’s “Maps To The Stars” is another extreme offering.

As women in the United States are seeing their rights to safe abortions, access to reproductive health services, and contraceptives slowly being stripped away by red state governors, a recent leak revealed the conservative majority Supreme Court may strike down Roe vs. Wade, ending legal abortion.

Cannes debut yesterday (May 23), during which a number of viewers reportedly walked out – some of them within the first five minutes.The film stars Viggo Mortensen and Léa Seydoux as performance artists who grow and remove organs onstage before a live audience, and contains a number of gory scenes.According to IGN, the film’s opening scene, in which a young boy is killed by his mother, prompted the majority of walkouts, with another scene involving Seydoux and an open wound leading to many others.Despite this, however, Deadline reports that the film still received a six minute standing ovation after credits rolled.“I’m speechless, really — this is the first time I’ve seen this movie on a screen this big,” Cronenberg said in a brief speech, “I’m very touched by your response. I hope you’re not kidding, I hope you mean it.

Kristen Stewart starts her day with the 2022 Cannes Film Festival photo call for her film Crimes of the Future on Tuesday (May 24) in Cannes, France.

At a press conference for his new film “Crimes of the Future” at the Cannes Film Festival, Canadian director David Cronenberg was asked about the film’s politics and the abortion debate in America.

In David Cronenberg’s latest genre twister, Crimes of the Future, Viggo Mortensen and Lea Seydoux plays partners who are performance artists, engrossed in performing surgery (largely on the former) for public nightclub spectacle. They’re enthralled with the freedom they can take on each other’s bodies. All of this in a governing society that’s not too fond of it.

Kristen Stewart just gave us another great red carpet moment!

David Cronenberg has unfinished business with the future, which is tricky, seeing as it already constitutes a significant slice of his past. His new film — titled “Crimes of the Future,” as in committed by rather than during that span of time — finds the master on the other side of his extended sojourn in high-minded literary adaptation, biopic quasi-prestige, and Tinseltown satire, back to playing the body-horror hits on which he made his name.

Just when his fans may have figured that David Cronenberg had called it a career (he’s now 79 and hadn’t made a feature since the misfired Maps to the Stars in 2014), along comes a film that only the Canadian maestro of the perverse could have created.

Owen Gleiberman Chief Film CriticMost filmmakers who want to unsettle you in a horror movie will reach for a familiar set of tools: slashers, demons, shock cuts, soundtracks that go boom! in the night. But in “Crimes of the Future,” the writer-director David Cronenberg is out to provoke and disturb us with something far more traumatic than mere monsters.Am I talking about the fact that in the distant future where the film is set, human beings grow mysterious new organs in their bodies? Or that having those organs removed through surgery has become, for a creepy rebel aesthete named Saul Tenser (Viggo Mortensen), a species of performance art? Or that people no longer experience physical pain, and will therefore stand in the street late at night cutting each other for cheap thrills, as if they were shooting heroin in a back alley? Or that surgery itself, as someone puts it, has become “the new sex”? If you see “Crimes of the Future,” you’ll witness all of these outrages, and a few more besides.

“Crimes of the Future” will be David Cronenberg’s final film — never believe a director who says they’re quitting — but it definitely feels like a closing argument, one that both reaffirms the filmmaker’s favorite themes and stylistic choices while also reflecting a shift in his point of view.We’ve been here before with Cronenberg; his 1999 “Existenz” also had the feel of a greatest-hits collection. But for audiences starved for brash choices from one of the cinema’s boldest living provocateurs, even a rehash seems fresher than corporate-assembled, focus-group-approved content.Should this be the Canadian auteur’s final feature, he won’t be leaving on a high note: “Crimes of the Future” won’t be remembered alongside masterpieces like “Dead Ringers,” “The Fly,” “The Brood,” or “Crash.” Nonetheless, as a writer-director, Cronenberg continues to plumb his obsessions, both narrative and visual, and he brings enough energy and bravado to the mix to make this an oft-told story that he’s recounting as though for the first time.Borrowing the title (but little else) from one of his earliest films, “Crimes of the Future” takes place in a near-future dystopia where pain has become a thing of the past and surgery is both a hot trend and the source of a new brand of performance art.

CANNES, France -- The Cannes Film Festival, yet again, belongs to Léa Seydoux.The French actress has already shared in a Palme d’Or at the festival, in 2013 for “Blue Is the Warmest Color,” which made her and Adèle Exarchopoulos the first actors to ever win Cannes' top prize, which they shared with director Abdellatif Kechiche.Last year, she had four films at the festival, but missed all of them because she tested positive for COVID-19. But this year, Seydoux gives two of the best performance of her career in a pair of films unveiled at Cannes: Mia Hansen-Love’s “One Fine Morning” and David Cronenberg’s “Crimes of the Future.” Together, they have only reinforced the view that Seydoux is the premier French actress of her generation.On a recent afternoon a few blocks from Cannes' Palais des Festivals, Seydoux greeted a reporter cheerfully.

Kristen Stewart keeps it casual while leaving her hotel for an interview appearance in Cannes, France on Monday (May 23).

Elsa Keslassy International CorrespondentSony Pictures Classics has nabbed “One Fine Morning,” Mia Hansen-Love’s critically acclaimed drama starring Lea Seydoux at Cannes on the heels of its world premiere at Directors’ Fortnight. Les Films du Losange, the indie film powerhouse, has now sold the film in 50 territories.The deal is for North American, Latin American and Middle East rights to the film.

Elsa Keslassy International CorrespondentMK2 Films is shooting “Curiosity Room,” a remake of Wim Wenders’s cult 1982 documentary “Room 666,” during the Cannes Film Festival. Produced by MK Prods.

EXCLUSIVE: Eternal Sunshine Of The Spotless Mind director Michel Gondry is readying his next project, which will be on sale in the Cannes market with French seller Kinology.

After an eight-year hiatus from the screen, NEON (“Parasite“) is releasing David Cronenberg‘s latest body horror film, “Crimes of The Future” next month. Cronenberg has revealed in a new interview with Variety that the movie, starring Viggo Mortensen, Lea Seydoux, and Kristen Stewart, was originally offered to streaming services such as Netflix and Amazon but they didn’t bite.

Actress Lea Seydoux is heading to the Cannes Film Festival this month with both David Cronenberg’s “Crimes of The Future” and Mia Hansen-Love‘s “One Fine Morning.” The festival isn’t the only thing going on as the Cannes Market has led to the actress starring in “Emmanuelle,” a revival of the film based on French novelist Emmanuelle Arsan‘s iconic sex-positive autobiography, in an English-language reboot.

Elsa Keslassy International CorrespondentEight years after “Maps to the Stars,” David Cronenberg is coming back to the Cannes Film Festival with what looks to be a big bang. Weaving together equal parts body horror and dystopian panache, “Crimes of the Future” instantly became one of the most buzzed-about competition films after Neon dropped the trailer on April 14, the day of Cannes’ press conference. The lushly-lensed film, which reunites Cronenberg with his muse Viggo Mortensen (“A History of Violence,” “Eastern Promises”) along with Kristen Stewart and Lea Seydoux, could prove as divisive as the Canadian master’s 1996 cult film “Crash” which went on to scoop Cannes’ very first Special Jury Prize for “its audacity, daring and originality.” Ahead of the start of the festival, Cronenberg sat down with Variety in Paris to talk about the long-gestating “Crimes of the Future,” the making of the picture, its underlying themes, while speaking candidly about the difficulty of financing challenging films, as well as his stance on streamers and  U.S.

Palme d’Or winning actress Léa Seydoux will star in Happening filmmaker Audrey Diwan’s English-language directorial debut, Emmanuelle, inspired by Emmanuelle Arsan’s novel and based on a script co-developed by Diwan and Rebecca Zlotowski.