News from the Locarno Festival


Histoire(s) du cinéma: Vision Award Nescens Howard Shore

© Splendor Films


Nowadays it’s easy to say that David Cronenberg is one of the most important filmmakers of the modern era. But sometimes it would be nice to go back in time and be slapped in the face by something new and disturbing, just like the early works of the Canadian directors. And it’s easy as well to think back on The Brood, Rabid or Scanners, while it would be much more interesting giving a closer look and a deeper analysis to Stereo and Crimes of the Future, his two first feature films that were much more similar to his present production.

Existential sci-fi, body mutation, the seed was planted a long ago, but Videodrome was the blast, merging the power of mass media and a clear future look on the manipulation of mind and bodies through tecnology and virtual reality. Videodrome is one of the most important movies of the last forty years, a wise reflection that learnt from the great American season of the ‘70s. Cronenberg read very well the lesson of Paddy Chayefsky’s Network, and it’s not by chance that in the very same year Sam Peckinpah released his last movie, The Osterman Weekend, a fantapolitical testament that was the very dark side of what Cronenberg told in his visionary way with Videodrome.

There are so many reason to watch, again or for the first time, Videodrome, but at the end of the day the best excuse is just because it’s a great movie. But if during the viewing there’s a switch in your brain and you start to elaborate some strange conspiracy worldwide theory, well, just try not to underestimate it.


Alessandro De Simone

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