Karsh, un empresario innovador y viudo afligido, construye un dispositivo para conectar con los muertos dentro de un sudario funerario.Karsh, un empresario innovador y viudo afligido, construye un dispositivo para conectar con los muertos dentro de un sudario funerario.Karsh, un empresario innovador y viudo afligido, construye un dispositivo para conectar con los muertos dentro de un sudario funerario.
- Premios
- 3 premios ganados y 10 nominaciones en total
Paddington
- Dog
- (sin créditos)
Al Sapienza
- Luca DiFolco
- (sin créditos)
- Dirección
- Guionista
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Opiniones destacadas
Greetings again from the darkness. Director David Cronenberg is renowned for his brand of 'body horror', although his canon has certainly not been limited to the genre. Some of his films across the past fifty years include CRIMES OF THE FUTURE (2022), COSMOPOLIS (2012), A HISTORY OF VIOLENCE (2005), CRASH (1996), DEAD RINGERS (1988), THE FLY (1986), VIDEODROME (1983), THE DEAD ZONE (a personal favorite,1983), and SCANNERS (1981). With his latest, Cronenberg offers a taste of what he's known for, but mostly focuses on the extreme repercussions of grief.
Grief is an emotion that hits us all hard at some point. Karsh (the always great Vincent Cassel) lost his wife four years ago, and his vision since has been to create a specialized, internet-based cemetery named GraveTech where grieving folks can observe the decay of lost loved ones ... all from the convenience of their iPhone app. Cronenberg regulars should prepare themselves for a film and story that has the feel of a stage production - meaning it's the dialogue and conversation that is crucial here, more so than the visual presentation (although there are a few stellar moments in that area as well).
Diane Kruger plays two roles here. One is Karsh's deceased ex-wife Becca, who we (and Karsh) see in hallucinations or visions. Her other role is as Becca's surviving sister Terry, a dog groomer who is dealing with her own grief. Lastly, a significant role is played by Guy Pearce as Terry's ex-husband, Maury ... a frumpy, paranoid, techno geek. Maury's skills have created Hunny, an AI avatar meant to provide companionship and advice to Karsh. Oh, and Diane Kruger also voices Hunny.
The thrust of the story revolves around the fallout of the targeted vandalism of a few of the gravesites, creating suspicion as to whether it's an international conspiracy or something less provocative. Of course, this is Cronenberg, so a traditional arc is not in the cards. Instead, he provides some stunning visuals (not violence, but definitely a shocking shift from what movies traditionally show) meant to convey the drastic changes that occur with the bodies we too often take for granted, especially when cancer is involved. Politics are touched on, and it's probably the first time you've ever heard a dentist speak the line, "Grief is rotting your teeth." Eroticism and obsession are key motivators here, so if you are willing, the psychological aspects of Cronenberg's film could fill many post-viewing debates. Whether this film strikes a chord with you or not, I remain thrilled and humbled that this octogenarian continues to do things his way.
Opens in theaters on April 25, 2025.
Grief is an emotion that hits us all hard at some point. Karsh (the always great Vincent Cassel) lost his wife four years ago, and his vision since has been to create a specialized, internet-based cemetery named GraveTech where grieving folks can observe the decay of lost loved ones ... all from the convenience of their iPhone app. Cronenberg regulars should prepare themselves for a film and story that has the feel of a stage production - meaning it's the dialogue and conversation that is crucial here, more so than the visual presentation (although there are a few stellar moments in that area as well).
Diane Kruger plays two roles here. One is Karsh's deceased ex-wife Becca, who we (and Karsh) see in hallucinations or visions. Her other role is as Becca's surviving sister Terry, a dog groomer who is dealing with her own grief. Lastly, a significant role is played by Guy Pearce as Terry's ex-husband, Maury ... a frumpy, paranoid, techno geek. Maury's skills have created Hunny, an AI avatar meant to provide companionship and advice to Karsh. Oh, and Diane Kruger also voices Hunny.
The thrust of the story revolves around the fallout of the targeted vandalism of a few of the gravesites, creating suspicion as to whether it's an international conspiracy or something less provocative. Of course, this is Cronenberg, so a traditional arc is not in the cards. Instead, he provides some stunning visuals (not violence, but definitely a shocking shift from what movies traditionally show) meant to convey the drastic changes that occur with the bodies we too often take for granted, especially when cancer is involved. Politics are touched on, and it's probably the first time you've ever heard a dentist speak the line, "Grief is rotting your teeth." Eroticism and obsession are key motivators here, so if you are willing, the psychological aspects of Cronenberg's film could fill many post-viewing debates. Whether this film strikes a chord with you or not, I remain thrilled and humbled that this octogenarian continues to do things his way.
Opens in theaters on April 25, 2025.
At it's base it's not a terrible movie, the problem is that the base consists of so many ideas and subjects that it's hard not to get lost in all of the mess.
It's a critique of technological advance, AI, privacy & spyware, (experimental) surgeries and health, the Chinese, capitalism, rich people, modern society and so on and so on ... The bad writing doesn't help either, the dialogue can be stupid or just straight up exposition, the story jumps between characters and plot lines in a sloppy way, and I know (or at least think) that some of the dialogue is self aware and doesn't take itself seriously, which made it corny, funny (the audience laughed from time to time) and honestly fun. You can consider this movie a "so bad it's good" movie, at least that's how I see it, I certainly didn't suffer.
It's a critique of technological advance, AI, privacy & spyware, (experimental) surgeries and health, the Chinese, capitalism, rich people, modern society and so on and so on ... The bad writing doesn't help either, the dialogue can be stupid or just straight up exposition, the story jumps between characters and plot lines in a sloppy way, and I know (or at least think) that some of the dialogue is self aware and doesn't take itself seriously, which made it corny, funny (the audience laughed from time to time) and honestly fun. You can consider this movie a "so bad it's good" movie, at least that's how I see it, I certainly didn't suffer.
It's disappointing to see a talented filmmaker lose his way in one of his works. Unfortunately, that's precisely the problem with the latest effort from acclaimed writer-director David Cronenberg in a film that seemingly had potential but fails to pull it together in the final product. Karsh Relikh (Vincent Cassel) is a successful Canadian businessman consumed with grief over the death of his wife, Becca (Diane Kruger), who attempts to cope with his loss by inventing a questionable and arguably macabre technology that allows survivors to peer into the graves of their departed loved ones to, for lack of a better explanation, monitor the deterioration of the deceaseds' corpses. From this premise (and the misleading trailer), one might get the impression that this would be a story with dark, spooky, supernatural overtones. However, as it plays out, the film goes from tangent to tangent to tangent without direction or satisfactory closure, leading viewers on a wild goose chase that, in the end, feels unresolved and incomplete. This alleged horror offering (which is admittedly not particularly scary or engaging) is actually more of a mystery/psychological thriller that ends up weaving a jumbled web of story arcs involving ever-evolving incidents of international business espionage and technological intrigue, the paranoid (and head-scratchingly erotically driven) ravings of Becca's conspiracy theory-obsessed sister, Terry (Kruger in a dual role), the love-starved pining of Terry's unbalanced ex-husband and expert computer hacker, Maury (Guy Pearce), and Karsh's tawdry affair with Soo-Min (Sandrine Holt), the blind wife of a dying Hungarian corporate magnate (Vieslav Krystyan) who wants to invest in the expansion Karsh's graveyard technology venture, among other puzzling and seemingly unrelated narrative threads. Add to this the picture's glacial pacing and a series of overlong and not especially revelatory dream sequences, and viewers are left with a genuinely bizarre offering. To its credit, the production features some inventive cinematography, a capable collection of performances, and a surprising wealth of inspired and perfectly timed comic relief (truly one of the film's best attributes), but these assets aren't enough to save a sinking ship that plunges deeper and deeper the longer this release goes on, all the way up to its abrupt and unfulfilling conclusion. This clearly is one of those productions that's likely to prompt many audience members to ask, "What was the director thinking?", a justifiable inquiry, to be sure. Cronenberg has produced a fine body of work over the course of his career, but it's nearly impossible to fathom what he was going for here.
I watched the new Cronenberg film Shrouds (2024) in theaters this evening. The story follows a man who, after losing his wife, builds a tech company and a restaurant chain inspired by her death. As he becomes increasingly obsessed with her decaying body, his grip on reality begins to slip, leading to a series of questionable choices.
Written and directed by David Cronenberg (Videodrome), the film stars Vincent Cassel (Black Swan), Guy Pearce (Memento), and Diane Kruger (Inglourious Basterds).
For a $500k production, the film looks incredibly polished-10/10 in terms of casting, styling, set design, and cinematography. It has a sleek, high-end feel and carries the tone of Black Mirror mixed with a distinctly European arthouse vibe. The performances are top-tier, and the dialogue is sharp and thought-provoking. I especially appreciated the raw depiction of cancer's physical and emotional toll on a couple-it was one of the most affecting parts of the film.
I admire Cronenberg's attempt to explore new territory, and while the sci-fi elements weren't bad, the pacing leans a bit too heavily into slow-burn territory. The romantic subplot didn't quite work for me, and the ending felt underwhelming given the buildup.
In conclusion, Shrouds is a must-see for Cronenberg fans, but it leans more Cosmopolis than Videodrome. I'd score it a 5.5/10 and recommend seeing it once.
Written and directed by David Cronenberg (Videodrome), the film stars Vincent Cassel (Black Swan), Guy Pearce (Memento), and Diane Kruger (Inglourious Basterds).
For a $500k production, the film looks incredibly polished-10/10 in terms of casting, styling, set design, and cinematography. It has a sleek, high-end feel and carries the tone of Black Mirror mixed with a distinctly European arthouse vibe. The performances are top-tier, and the dialogue is sharp and thought-provoking. I especially appreciated the raw depiction of cancer's physical and emotional toll on a couple-it was one of the most affecting parts of the film.
I admire Cronenberg's attempt to explore new territory, and while the sci-fi elements weren't bad, the pacing leans a bit too heavily into slow-burn territory. The romantic subplot didn't quite work for me, and the ending felt underwhelming given the buildup.
In conclusion, Shrouds is a must-see for Cronenberg fans, but it leans more Cosmopolis than Videodrome. I'd score it a 5.5/10 and recommend seeing it once.
I am so excited that David Cronenberg put this film out and that he still has fresh ideas, which didn't seem to be the case in his last film. Crimes of the Future felt like a greatest hits compilation for the director and it was not particularly engaging. I was thrilled to be intrigued by The Shrouds from the first scene! However, the film ends up being simply one philosophical conversation between characters after another while nearly nothing happens in the plot. And while the ideas are intriguing and the characters do find some level of dimension, this film is all telling with no showing and eventually frustrates the viewer. I enjoyed the fresh ideas but struggled with the fact that this was a film, I still look forward to his next work! Cronenberg has had a marvelous career and still has us thinking.
¿Sabías que…?
- TriviaDiane Kruger replaced Léa Seydoux in her role.
- Citas
Karsh Relikh: What is this place?
Maury Entrekin: It's nowhere.That's the point.
- ConexionesReferenced in Film Junk Podcast: Episode 961: In a Violent Nature + TIFF 2024 (2024)
- Bandas sonorasCitadel Rising
Composed and Performed by Rob Bertola (as Robert Alfred Bertola) and Richard John Brooks (SOCAN)
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- How long is The Shrouds?Con tecnología de Alexa
Detalles
Taquilla
- Total en EE. UU. y Canadá
- USD 755,935
- Fin de semana de estreno en EE. UU. y Canadá
- USD 49,361
- 20 abr 2025
- Total a nivel mundial
- USD 1,429,370
- Tiempo de ejecución2 horas
- Color
- Mezcla de sonido
- Relación de aspecto
- 1.85 : 1
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