A deeply personal, thought-provoking film about grief and memory with a discomfiting sci-fi invention at its centre.
David Cronenberg, director and writer of The Shrouds, has always had a fascination with the human body in his films. Through his use of impressive practical effects, he has created images that stay in the audience’s mind long after the film concludes. Films such as The Brood (1979 ), Videodrome (1983 ) and probably most notably, The Fly (1986 ) all depict graphic mutations of the human body. Yet as striking as these oddities are, they are not there simply for shock value.
Cronenberg is much more romantic than his films might suggest. Many of his creations, including the above, centre on romantic relationships, twisted in some way, and defying conventions of what may be considered “normal”. The Shrouds reaffirms Cronenberg’s desire to explore the complexity of love, but – more specifically, also explores how people process loss.
Karsh (Vincent Cassel ) has recently lost his wife, Becca, after a physically grueling cancer battle. Responding to a profound feeling of grief, Karsh creates ‘GraveTech’, an enterprise giving mourners the opportunity to watch their deceased loved ones on a gravesite video screen as they gradually decompose underground. A technologically enhanced garment known as a Shroud makes this possible.
Those not familiar with Cronenberg’s filmography, especially his more recent films, might not get onboard with its distinctive style and presentation. There is a digital, ultra-naturalistic look to it that might be off-putting to those accustomed to the traditional lighting and cinematography seen in most films, but I think the presentation’s realism grounds the science fiction elements in a world comparable to our reality, inviting audiences to ponder the ethical and societal questions the story provokes, because it does not seem too distant from reality.
There is an exaggerated quality to the performances and dialogue which again may prove polarising. You will hardly believe that Guy Pearce, who was rightly Oscar-nominated for his supporting role in The Brutalist (2024 ), is the same actor that plays Karsh’s insecure, jealous, IT expert, brother-in-law. You might laugh at his appearance and personality but I appreciate Cronenberg’s intent to fill his world with unusual characters, and direct his actors to give bold, conspicuous performances. (Kristen Stewart in his previous film, Crimes of The Future (2022 ), is another overt example of this. )
Despite being inspired by a serious, life-altering event – the death of his wife, Carolyn Zeifman, in 2017 – to make this film, Cronenberg ensures the film never becomes laborious or melodramatic. Comedy is tinged throughout, adding levity to the mysterious nature of the narrative, acknowledging the weirdness of Karsh’s innovation.
Empathetic message
Cassel also does a great job at humanising Karsh, not giving us any easy answers for his actions or reasons to place judgment on him. After Becca’s death, Karsh becomes dependent on a female AI tool when social interactions and changing the style of his apartment becomes overwhelming, reactions I am sure some will empathise with. The film suggests that grief is a process that cannot be understood, and should not be neatly explained. That is the central take-away of this film for me, and its transmitted very effectively.
Superficially, the film may seem ridiculous, but I found it to be really quite profound with its depiction of the lasting effects of life-changing tragedy. There are dream sequences that are simple in their execution, but no less nightmarish in their effect. There is body disfiguration that will disturb some viewers without feeling exploitative. These creative choices offer insight into Karsh’s marriage, hinting at an inescapable feeling of being haunted. Diane Kruger and Sandrine Holt also give great performances as possible routes to a light at the end of the tunnel for Karsh.
It may not be for everyone, but I thought that this was one of Cronenberg’s most sincere and thought-provoking films this century. He has built up an eclectic filmography, with all sorts of dramatic intentions, but The Shrouds feels unabashedly personal to Cronenberg; it is his own response to loss. The result is an emotionally involving, purposeful rumination on death, love, relationships and letting go. The sci-fi concept is simply an intriguing method to get his message across.
Now showing at the Eye Cinema.
