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Following the Stars

Maps to the Stars – Histoire(s) du cinéma: Premio Raimondo Rezzonico Michel Merkt

Following the Stars


© Entertainment One / Pathé Films

The funniest thing of Maps to the Stars is Robert Pattinson driving a limousine rather than having a proctoscopy on the back seat. Outside the car there isn’t Cosmopolis, it’s much worse: it’s Hollywood, baby. A place where people are envious, sick, unhappy and most of the time not particularly talented. The interlaced lives of a young pyromaniac, a chaffeur/actor/screenwriter, a wonder boy star and his twisted family and finally an actress on the verge of a nervous breakdown are pretext stories that Cronenberg uses to describe a deteriorated society of appearence and appearing, which potentially is the perfect environment for some of the favorite obsessions of the Canadian director.

Cronenberg never had a great relationship with Hollywood, lucky us, because we would never have had the pleasure to enjoy some of his best movies. Crash, Naked Lunch, A History of Violence, Eastern Promises, if we are talking only about his latest production.

Maps of the Stars is a peculiar movie, enriched by a series of incredible performances. Julianne Moore and John Cusack are simply perfect, but what’s important is that watching any Cronenberg’s movie after a few years makes you understand how deep and complex his artistic world can be. Maps to the Stars has the structure of a series condensed in 112 minutes. It’s always a matter of storytelling. And Mr. Cronenberg knows quite well.

Alessandro De Simone

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