What’s the first thing you think about when you hear the surname, Cronenberg? Immediately, I start thinking about body horror. Brandon’s father David’s signature trademark is the titillating and horrific imagery of bodies being contorted, either from supernatural or violent actions that he crafts. The horror world wouldn’t be the same without the creative minds with that surname. All hail the king of body horror! From “Videodrome” to his last year’s “Crimes of the Future,” his bodily obsessions pave the way for unique sensory experiences. There’s no other filmmaker like him. And better yet, no one can replicate what he does. He knows how to articulate messages while intertwining his favorable themes.
Brandon Cronenberg Draws from His Father with Terrific Success
Some of those themes are the physical manifestation of psychological trauma, the distinction between morality and immorality, or the relationship between the social and the individual. Whether you look at it with a shock factor lens or not, David Cronenberg showcases harrowing experiences that have both profoundness in their thematics and horrifying grace in his direction. His filmography is divided into two halves that haunt different sides of the human experience, the body (“Shivers,” “Crash”) and the mind (“A History of Violence,” “Maps to the Stars”). However, his son, Brandon Cronenberg, has decided that he wants to do both sides of his father’s cinematic language. As a result, he’s slowly developing his array of carnal and distinctive grotesquerie that cut deep with its socio-economic conceptual parables.
Brandon’s concepts about society and their obsessions are all intriguing. His sensory details put the viewer in a trance and overwhelm them because of their tethering between shocks and intrigue. Because of this tethering, he can develop a more profound sensation of dread and unease. The imagery appearing on-screen will stay in your head for a long while. How much time does he put into his film? Because the ideas are so complex and uncommon, it baffles me how he wrote everything up. That is a testament to his talent and directorial vision. But, again, he is a Cronenberg, after all. For me, all of his films have been great hits. However, his latest one might have taken the perverse cake of horror filmmaking pleasures. It defies all expectations you might have had and impresses with original ideas.
Setting the Stage for ‘Infinity Pool’s’ True Horror
“Antiviral” demonstrated that he had the gifts to pull odd stories with ease. “Possessor” showcased his visual stylistic tendencies of neon-lit carnage. In his highly anticipated third feature, “Infinity Pool,” Brandon Cronenberg exceeds his previous accomplishments. This stylized madhouse of depraved Cronenbergian delights introspectively and physically, exhibiting takedowns the privileged class in a satirical, provocative, and elaborate panoply of sex, sadism, male ego, and carnage. “Infinity Pool” begins its crazed journey in an all-inclusive resort in the fictional state of Lil Tolqa, where James (Alexander Skarsgård) and Em (Cleopatra Coleman) are staying. James thinks that his stay there will finally cure his writer’s block. He hasn’t written a book in over six years. James spends his days in the pricey resort, isolated from the others and the island’s environment.
One day, however, he meets Gabby (played by the always fantastic Mia Goth). She’s a young actress married to millionaire architect Alban Foster (Jalil Lespert). Apparently, in full coincidence, she’s a fan of James’ last novel — Gabby is almost starstruck upon meeting him. So the wealthy couple invites them on a secret day trip to the island’s outskirts, but things will not go as planned. James accidentally kills a local with his car, and the police mark him with the death penalty for his crimes. However, when he thinks all hope is lost, Thresh (Thomas Kretschmann), a local detective, says that for a hefty price, there’s a loophole for his offenses — one that aids foreign travelers convicted of crimes. This is an introduction to a reprobate subculture of hedonistic tourism in which a body double of yourself is built for the purpose of execution.
Horror Mixed with Satire in Cronenberg’s Takedown of the Rich
Surreal horrors await James with his fixation with the re-animation of his body. Watching his double die gruesomely paves the way for a journey he will never forget. Mind, body, and soul immediately fracture once you experience such action. The prosperous get more assertive and manipulative. They toy with their lap dog, aka. the odd man out in the bunch, James. Their chaotic nature gets even viler by the minute. The obsession with this money-oriented scapegoat makes Gabby and her “friends” pursue the things they can’t escape from in the real world, hence their sadist and sex-filled actions. After all, this is their vacation time. They are just there to have “fun.” However, their definition of such is cruel and filled with carnage because they can get away with it.
You can see “Infinity Pool” as if it was “The White Lotus” or “Triangle of Sadness” made by a Cronenberg. The uber-rich’s excess, vanity, and obsessions are embarked through provocative scenarios filled with sexual desires and gory set-pieces. And if you didn’t think this film would be funny, think again. The satire is in play at all times. In addition, occasional moments of camp are added to the bloody margarita mix of sex, violence, and sadism. This is primarily thanks to Mia Goth’s astonishing performance. Goth proves once again that she’s this generation’s horror queen. Much like the movies’ psychedelic neon montages, her performance is delightfully unhinged.
More to Explore on Subsequent Re-watches
“Infinity Pool” is endless with original ideas, some that reach unpredictable escalations that garner communal astonishment. Brandon Cronenberg doesn’t want to restrain himself from fulfilling his entire vision. He experiments with style and sound in delicious ways that combine with the movie’s boisterous energy. It ends as a divisive yet massively fascinating great piece of horror filmmaking. While many may not be into the unhinged nature of his direction in “Infinity Pool,” there’s a purpose to why it is as such. When there are no restraints on what the rich can do, they will hold no regard for the others below them. The ugliness of society is seen through excessive and perverse means to see the people’s capabilities of breeding evil and iniquity onto the world (or others).
Unlike his other features, Cronenberg removes the aspect of emotional attachment so we can see them for who they truly are. There is much more to explore in Brandon Cronenberg’s “Infinity Pool,” and it will likely garner rewatches to grasp every detail. However, in my initial viewing, I can say this is truly something to remember. Again, it all goes back to his surname. The Cronenberg tag is crucial to the film’s success. Both father and son have managed to create their own eclectic and unique filmography that stands tall amongst other horror directors. “Infinity Pool” strives on all levels, even if not everyone is up to experiencing this luscious madhouse. This one is for all the sickos — a complimentary piece to his previous work in “Possessor.” Both films will make an outstanding double bill.
“Infinity Pool” is currently playing at the Sundance Film Festival. The festival goes from January 19 – January 29. Join us for continual coverage. Additionally, the film opens theatrically in the United States today.
