To help you make your choice in the multitude of series B generated by the cinema operating for the past fifty years, here is a selection of films such as Chromosome 3, stand out for their high degree of improbability, their faults of taste assumed and their leadership qualities-works well known.
A psychiatrist invents a revolutionary treatment that he applies to his patients : thanks to a substance called Psychoprotoplasmes, they are able to externalize their mental health problems through physical manifestations, spontaneous such as pustules or tumors that appear instantly. But he didn’t anticipate the side effects, especially destructive…
In the seventies, the wife of David Cronenberg fell under the influence of a guru and was sequestrée for weeks in the place that housed his sect antipsychiatrique. When his wife wanted to enrol their daughter, the filmmaker had to bring himself to kidnap the latter in order to save it. This painful experience, Cronenberg garda a look vigilant about the power of manipulation of those who claim to help their neighbour, and is found throughout his filmography of the criticism of the professional of the influence, whether it be the preacher of the audiovisual Videodrome, the messiahs of gamingExistenZ with their work-this is manifest in a chapel, or the two figures rival the psychanalise working in A Dangerous Method. In the malnommé Chromosome 3, which should be worth more the original title The Brood (Scope), the canadian director chooses to exorcise the test has gone through his family, invoking the image of his demons, in a process outlet more and more violent.
The particular rhythm of Chromosome 3 characterizes the practice of the entrisme in Cronenberg, who becomes involved in a horror movie on a modest budget, the better to divert the horizons of expectations, and bring it to his vision auteurisante of the genre. And the director authorizes an establishment long enough, centered on the problems of the couple Frank/ Nola, and the role disorder plays the guru in the progression of Nola to the madness, delaying the kick-bloodshed for the benefit of the dialogues. The proposal of the author is clear, rather than providing the public an hour and a half of a story scary, which would only be a pretext for the use of the codes agreed by the horror, he wants to install a dramatic tension, a reflection of a reality that he lived, and which was to find its apotheosis in switching in the fantastic. The idea that a cult can lead you away from a loved one, transform his personality and endanger the life of a child, already represents a projection rather terrifying in the mind of the viewer, for this would guarantee his involvement in the first part of the story.
“The original function of the fantastic is to materialize our fears, Cronenberg takes with Chromosome 3, set at the foot of the letter “
Then, in the last third of the film, this is where the genius of the filmmaker operates. The genius is sometimes to go back to the sources of a type of narrative, in order to identify a new approach. The original function of the fantastic is to materialize our fears, Cronenberg takes the luggage at the foot of the letter when it comes to giving a shape to the fear that lived during this dark period. We understand that this fear had been so potent, so harmful, when it is known that it focuses on a little girl, that it causes once transposed to the screen, the combination of images may be traumatic with the innocence of childhood.
Critics have often thought of Cronenberg as the precursor to the body horror, this offshoot of the genre horror, which questions in an aesthetic shock, our relationship to the body, to its metamorphosis as its degeneration. Before pushing its experimentation to the visual in the eighties and mark the retinas sensitive with Videodrome, The Fly and False Pretences, the director explored already in the final experiencing of Chromosome 3, the taboos relating to the representation of the body of the mother, applying to both the figure of matrix cannibalisée by the being that she carries, and the fury of the tragedies of the ancient denying his humanity for strength to be the receptacle of emotions, freak.
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