Upon finishing this urban road movie starring Robert Pattinson as a genius multi-billionaire; I ran a Google search for its director, hoping to uncover a precious list of must-watch titles. As it turns out, I've seen virtually everything on David Cronenberg's resume. To name a few: The Fly, Spider, A History of Violence, Eastern Promises and A Dangerous Method
The verdict for his twentieth feature, is bugger-all to accusations of pseudo intellectual posturing. I imagine watching this Canadian drama-thriller as akin to knocking back a few drinks, with the cinema politica and George Orwell for company.
Adapted from Don DeLillo's dystopian novella of the same name, Cosmopolis is a post-modern inquiry into the lifeblood and executioners of contemporary culture — technology, power, capitalism. Sex, rage and rapture. Solitude, overcrowd and alienation. Dreams, successes and ultimately failures.
The film follows currency analyst Eric Parker (Pattinson in a surprisingly sharp performance) throughout the course of a single day. Protected by a bodyguard, he cruises and works in the privacy of his tinted stretch limo, meeting employees, lovers and acquaintances while making his way to the barber for a haircut.
What Cosmopolis captures so well, is the systematic collapse of Eric's self-erected and self-imposed demarcation. As he weaves through the ebb and flow of Manhattan with progressive chaos and claustrophobia closing in, a furry of encounters with the characters boarding and alighting unfold with rigorous unpredictability. Throw in implausible chance meetings with a ravishing poet wife Elise (Sarah Gadon); and I often found myself wondering if Eric's final awakening, will inevitably persist beyond the reach of his mortal capacity.
This is easily one of the best among David Cronenberg's introspective repertoire of works. Without veering off from the main rhetoric; it is humorous and anti-humor, logical and anti-logic all at once.
"I'm looking for more. Even fire. Show me something I don't know."
Precisely.
cinemainterruptus.wordpress.com
The verdict for his twentieth feature, is bugger-all to accusations of pseudo intellectual posturing. I imagine watching this Canadian drama-thriller as akin to knocking back a few drinks, with the cinema politica and George Orwell for company.
Adapted from Don DeLillo's dystopian novella of the same name, Cosmopolis is a post-modern inquiry into the lifeblood and executioners of contemporary culture — technology, power, capitalism. Sex, rage and rapture. Solitude, overcrowd and alienation. Dreams, successes and ultimately failures.
The film follows currency analyst Eric Parker (Pattinson in a surprisingly sharp performance) throughout the course of a single day. Protected by a bodyguard, he cruises and works in the privacy of his tinted stretch limo, meeting employees, lovers and acquaintances while making his way to the barber for a haircut.
What Cosmopolis captures so well, is the systematic collapse of Eric's self-erected and self-imposed demarcation. As he weaves through the ebb and flow of Manhattan with progressive chaos and claustrophobia closing in, a furry of encounters with the characters boarding and alighting unfold with rigorous unpredictability. Throw in implausible chance meetings with a ravishing poet wife Elise (Sarah Gadon); and I often found myself wondering if Eric's final awakening, will inevitably persist beyond the reach of his mortal capacity.
This is easily one of the best among David Cronenberg's introspective repertoire of works. Without veering off from the main rhetoric; it is humorous and anti-humor, logical and anti-logic all at once.
"I'm looking for more. Even fire. Show me something I don't know."
Precisely.
cinemainterruptus.wordpress.com