What will terrify us the most, according to director Brandon Cronenberg? In his third and most recent feature film, infinite death, the Canadian captures gloomy images and situations; same that go from framing a mask not suitable for tripophobics to representing some of the greatest fears that concern road trips. However, all of the above becomes merely circumstantial when one considers what (apparently minimal) could be for Cronenberg the most nightmarish aspect of the human condition: the loss of our individuality.
Years ago, the same filmmaker addressed that issue through his film owner (2020). There, an assassin was able to subdue a person’s consciousness and take control of their body. So, steeped in science fiction, that tape illustrated an extreme case of identity theft, as does infinite death; only instead of dealing with possessions, this one is about cloning, which is obviously just as threatening to anything that wants to stay authentic and unique.
The premise of the film starring Alexander Skarsgård (The Northman) is simple but no less intriguing. It is about a failed writer who, accompanied by his wealthy wife, travels to a luxurious resort in the fictional country of Li Tolqa; a territory of paradisiacal landscapes, although afflicted by poverty, corruption and brutality. When he agrees to venture out of the hotel, this novelist by the name of James Foster ends up involved in manslaughter; this leads to his arrest and an early death sentence. However, the authorities inform him that he has the right to request a “double” to give his life for him. The only condition is that he pays for the costly manufacture of the clone and witnesses his bloody execution.
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With infinite death, Brandon Cronenberg (also a screenwriter) does a kind of reinterpretation of the concept of the aura, coined by the philosopher Walter Benjamin and defined as the uniqueness that only exists in an original work of art, and that is destroyed with each reproduction made from that artistic piece. Here, the director is obviously not talking about works of art, but about humans who inspire copies of themselves and lose not only their uniqueness along the way; also his humanity, his soul and his moral compass. That is, everything that makes them individuals with principles and integrity (no matter how few they are).
In the case of James, his walk begins to go into a complete decline, outlined towards a world of violence and perversity that others like him —privileged tourists who escaped death thanks to their “doubles”— perceive as an eternal source of pleasure. After all, in Li Tolqa the seriousness of the crime or the punishment does not matter. As long as a foreign malefactor can afford it, a clone will be his safe-conduct.
For this, the protagonist will also be guided by Gabi Bauer; a young actress whom James meets at the hotel and who confesses to being a fan of the only book he has ever written, though her interest in the novelist becomes more suspicious as the film progresses. And of course, to all audiences that have adored Mia Goth in X and Pearl, you won’t be surprised to learn that the British comedian—in the role of the enigmatic Gabi—is the one who steals the spotlight. Her interpretation offers glimpses of femme fatalemixed with childish and insane lapses, which now that Harley Quinn is in fashion, may fuel the imagination of many regarding seeing her as a more macabre version of the DC character.
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Through infinite death, Brandon Cronenberg demonstrates once again his ability to create disturbing atmospheres and plunge us into absolute confusion. After welcoming the audience with a black screen and disturbing dialogue, he proceeds to share different perspectives of the resort where the characters are staying, with a rotating camera that anticipates the lack of balance that the spectators will suffer throughout almost two hours. , seasoned with a dizzying score.
On the other hand, just as in owner, the director resorts to a couple of accelerated editing sequences and kaleidoscopic attributes that suggest the mental collapse of the characters; a side effect of these advanced technologies—whether mind control or cloning—that are put at the service of politics, business, and the most outrageous entertainment. Inevitable to think about that memorable reflection on the fact that scientists were so determined to do something, that they did not stop to think about whether they should do it; above all, in the case of universes as heartless as those raised by the son of David Cronenberg.
The frustrating thing about infinite death it’s that it doesn’t provide any space to properly develop the characters. That may have been their intent, particularly given how dehumanized most frame vacationers are. But not even James’ wife, Em, more sensible and willing to do the right thing, has a caring and empathetic build. In addition, the sporadic flashes of graphic violence and highly sexual content of the uncensored version contribute nothing; mere cogs in a machinery shock value.
However, regardless of the above, the film should be seen for its thematic richness and the outstanding authorial signature of Brandon Cronenberg. In his powerful images, lies the germ of interesting debates and suffocating nightmares.
Antonio G. Spindola I have very bad memory. Out of solidarity with my memories, I choose to lose myself too. Preferably in a movie theater.