THE SHROUDS, Canada, 2024. Starring Vincent Cassel, Diane Kruger, Guy Pearce, Sandrine Holt. Directed by David Cronenberg. 120 minutes. Rated MA (Strong horror themes, mental health themes, suicide references, nudity, sex scenes and sexualised imagery).
For half a century, Canadian writer-director, David Cronenberg has been a highly significant and influential figure in world cinema. In fact, 50 years ago, his first feature film was called Shivers and released with the alternate title, The Parasite Murders. Eerie, a different kind of horror film, a parable about contemporary society, Shivers announced Cronenberg’s interest, his style, his sometimes disgust at the human condition. And, for 50 years a continuing stream of highly arresting films on the topic of the human body.
With the emphasis on horror aspects, commentators began to use the phrase ‘body horror’ and this is always used as shout out to indicate Cronenberg’s attention in his films. It is definitely the case here as Cronenberg was turning 80, still experimenting in his style, but heavily influenced by the death of his wife of more than 40 years.
Celebrated French actor, Cassel, plays Karsh, a man with technical know-how and funds to support it. His wife contracted cancer, went through all kinds of treatments, died and was buried. Karsh then developed a business, Grave-Tech, a cemetery at the side of an elaborate restaurant, but, a particular focus, Karsh able to keep close contact with his dead wife, a complex shroud in which she is buried but which enables images of her body, decaying, to be seen by a screen on her tombstone. (If that sounds intriguing, there is certainly a great deal more . . .)
Kruger plays several roles in this film, Becca, the deceased wife in flashbacks, Terry, the lookalike younger sister who is friendly with Karsh as she works as a vet. There is also an android Hunny (who keeps changing shape as she cares for and advises Karsh), who is voiced by Diane Kruger as well.
The other member of the cast is Maury (Pearce) – morose and dishevelled (almost the opposite of his Oscar-nominated role in The Brutalist). He is also a tech genius and has collaborated with Karsh setting up the cemetery and the technology used to create Hunny.
Part of the drama is the desecration of the cemetery, the mentally disturbed Maury suggesting all kinds of conspiracies, even international and political plots behind the sabotage. There is also a mysterious Hungarian woman, Soo-Min Szabo (Holt) who is trying to persuade Karsh to establish a similar cemetery in Hungary.
In many ways, The Shrouds becomes even murkier in its plot, focusing on the doctor who treated Karsh’s wife, his disappearance, his possible reappearance in the cemetery.
Cronenberg always has intriguing and complex plots. This one sometimes gets sidetracked but, ultimately, the focus is on Karsh himself, his grief, the effects of coping with grief, his obsessions.
No question whether Cronenberg fans will want to see this film. But, for audiences who do not know Cronenberg horror, a reminder that he has become the master of ‘body horror’.
Rialto
Released 5 July