A buzz of interest accompanied the premiere of David Cronenberg’s Crimes of the Future at Cannes this year. It was Cronenberg’s first film in eight years and only the second that he had written and directed in more than 20 years. Crimes of the Future also marked a return to his distinctively extreme aesthetic and thematic preoccupations—which, in turn, meant the possibility of a critical backlash, as had greeted some of his previous films.
