David Cronenberg: Last News

Lord Of The Rings composer Howard Shore and will run in association with the BFI next year from March 19-26.The event will feature a conversation with Shore and legendary filmmaker David Cronenberg about their collaborative work, as well as live performances, panel discussions, in-conversation screenings, composer Q&As and masterclasses with some of the biggest names in film, TV and games music.Cronenberg and Shore have worked together for over 45 years on films including Videodrome, The Fly, Dead Ringers, Crash, M Butterfly, Eastern Promises, A History of Violence, Naked Lunch and The Shrouds – their most recent collaboration and their 17th overall.A retrospective of the work of Shore will run alongside events events celebrating the work of Hildur Guðnadóttir (Tar, Joker), Anna Meredith (Eighth Grade), Anne Dudley (Poldark, The Full Monty), Harry Gregson-Williams (The Martian), Stephen Barton (Star Trek: Picard, Star Wars: Jedi – Fallen Order, Apex Legends), Natalie Holt (Loki, Obi-Wan Kenobi and Paddington) and Paul Farrer (The Chase, Weakest Link).

Coralie Fargeat’s The Substance – one of the breakout films of this year’s Cannes Film Festival – will close the new Midnight Madness strand at this year’s Edinburgh Film Festival [EIFF]. 

Vanity Fair France has commented after editing a photo of Guy Pearce at the Cannes Film Festival wearing a pin of the Palestinian flag.

Zack Sharf Digital News Director Vanity Fair France apologized for a photo in which a Palestine pin that Guy Pearce was wearing on his suit was edited out (via CNN). Pearce attended this year’s Cannes Film Festival in support of David Cronenberg’s competition entry “The Shrouds,” in which he stars opposite Vincent Cassel and Diane Kruger.

Refresh for latest…: The 77th Cannes Film Festival draws to a close this evening with the prize ceremony about to kick off inside the Grand Théâtre Lumière. The past 10 days have been building to this moment after a somewhat muted start that arrived under gloomy skies. The clouds have since cleared and several films have emerged as potential winners tonight. Scroll down for the list of laureates which is being updated as awards are announced.

Diane Kruger is opening up about how she landed her role in David Cronenberg‘s arthouse horror film The Shrouds.

Ellise Shafer David Cronenberg weighed the pros and cons of artificial intelligence in filmmaking at the Cannes Film Festival press conference for his latest film, “The Shrouds,” on Tuesday. Though Cronenberg said that technological advancements like CGI have “made filmmaking much easier” in terms of tasks like removing coffee cups from footage, he admitted that it’s “quite shocking … to see what can be done even now with the beginnings of artificial intelligence.” Speaking of Sora, the new AI software that can generate motion pictures, Cronenberg said it has the potential to “completely transform the act of writing and directing.” “You can imagine a screenwriter sitting there, writing the movie, and if that person can write it in enough detail, the movie will appear. The whole idea of actors and production will be gone.

Diane Kruger is looking stunning on the 2024 Cannes Film Festival red carpet!

When his wife died, Karsh tells the blind date he has asked to lunch, he had an overwhelming urge to jump into the coffin with her rather than see her sent away alone. Instead, he contrived a way to straddle the worlds of the living and the dead, setting up a luxury cemetery where the dead are wrapped in metallic shrouds that are like camera blankets. Above ground, there are screens over each grave on which you can watch your loved one disintegrating.

Owen Gleiberman Chief Film Critic “How dark do you want to go?” The man asking that is named Karsh (Vincent Cassel), and he’s seated in a minimalist art-chic restaurant having lunch with a blind date (though as she points out, how blind can a date be in the age of Google?). The one who’s really asking the question, though, is David Cronenberg, writer-director of “The Shrouds.” He’s been asking that question — to audiences — for his entire career, and to him the answer has always been the same: The darker the better.

Ellise Shafer David Cronenberg’s “The Shrouds,” the horror auteur’s latest film about a widow who invents technology to see inside his late wife’s grave, received a 3.5-minute standing ovation at its Cannes premiere on Monday night. The crowd showed their respect for Cronenberg with the applause, but it was nowhere near rapturous as audience members digested the film, which is a departure from Cronenberg’s usual out-of-the-box body horror. Instead, “The Shrouds” is a thoughtful exploration of grief, and though there are several gross-out moments, the film relies on emotion more than anything.

Demi Moore‘s new horror film The Substance has landed a perfect score on Rotten Tomatoes after premiering at the Cannes Film Festival.The new film from director and writer Coralie Fargeat is a body horror that focuses on the titular product, which allows people to create a younger and more perfect alter ego.The movie, which also stars Margaret Qualley and Dennis Quaid, made its debut at the festival yesterday (May 19), and critics have shared their praise, with the film debuting with 100 per cent on Rotten Tomatoes.IndieWire called The Substance a “camp-adjacent instant classic [that] aspires to cast off with some of the most spectacularly disgusting body horror this side of The Fly or the final minutes of Akira.”Screen International said that “this potent body horror is executed with skill and compassion, bringing fresh insights alongside generous helpings of graphic gore”.“The Substance draws excellent performances from Demi Moore as a has-been Hollywood star and Margaret Qualley as the younger, prettier version she creates by injecting herself with the titular serum,” they added.Deadline suggested the film is like “David Lynch’s Mulholland Drive fused in a telepod with David Cronenberg’s Dead Ringers“, calling it “the perfect breakout genre movie of the year”.The ongoing Cannes Film Festival recently saw the premiere of Francis Ford Coppola’s long-awaited passion project Megalopolis, which has drawn a mixed reaction including some boos from the audience.The film, which stars Adam Driver as an architect-scientist who wants to improve a fictional version of New York City called New Rome, currently sits at 52 per cent on Rotten Tomatoes.The Guardian called the film “a passion project without passion”, though The

Have you ever dreamed about being a better version of yourself? With her second film, Coralie Fargeat not only addresses this question but takes aim at ageism and sexism in the entertainment industry with a riotous, dreamlike horror-thriller that ends in a delirious symphony of blood, guts and otherwise undefinable viscera. Imagine David Lynch’s Mulholland Drive fused in a telepod with David Cronenberg’s Dead Ringers, add the unbelievably dynamic pairing of Demi Moore and Margaret Qualley, process it through the ultra-vivid color palette that is Fargeat’s hyper-saturated imagination, sprinkle a bit of J.G. Ballard on top, and you have the perfect breakout genre movie of the year.

Owen Gleiberman Chief Film Critic Shocking and resonant, disarmingly grotesque and weirdly fun, “The Substance” is a feminist body-horror film that should be shown in movie theaters all over the land. By that, I don’t mean that it’s some elegant exercise in egghead darkness like the films of David Cronenberg, or a patchy postmodern punk curio like “Titane.” Coralie Fargeat, the writer-director of “The Substance,” has a voice that’s italicized, in-your-face, garishly accessible and thrillingly extreme.

On Sunday at Cannes, Diane Kruger put her star power behind a worthy cause, attending the ‘Transcending Borders’ gala at the Campari Lounge hosted by Breaking Through the Lens—an organization that works to support female filmmakers.

Ellise Shafer With only her second film, Coralie Fargeat has gone from admiring body horror king David Cronenberg to being in competition with him at this year’s Cannes Film Festival. Fargeat’s “The Substance,” described as a feminist take on the body horror genre and starring Margaret Qualley and Demi Moore, bows at Cannes on Sunday night, the day before Cronenberg’s latest frightful offering, “The Shrouds,” will do the same.

Strange but true: after 15 years as an international movie star, propelled to fame in 2004 by Wolfgang Petersen’s historical epic Troy, German-born Diane Kruger won the Best Actress award in Cannes for her first-ever performance in her native language. Fatih Akin’s provocative 2017 drama In the Fade, in which she played a widow consumed by revenge after a terror attack, revealed an unexpectedly tough new side of her glamorous persona.

Alex Ritman Julianne Moore says the film industry has “changed dramatically” since she started out in the early 1990s when it comes to female representation. Speaking as part of Kering’s Women in Motion program at the Cannes Film Festival, the Oscar winner said one of the most noticeable differences is when it comes to career longevity for actresses. “Meryl [Streep] said this too the other day [during the festival’s opening ceremony], this idea that when she was 40, she thought it was all going to be over,” she said.

Brent Lang Executive Editor David Cronenberg is returning to Cannes with “The Shrouds,” the story of an industrialist named Karsh, who invents a controversial technology that allows grieving families to see inside the graves of their loved ones with high-resolution cameras. It’s a film that defies easy categorization. This being a Cronenberg production, there are elements of body horror, but there’s also a conspiracist undercurrent, as Karsh (Vincent Cassel) begins to suspect that shadowy forces are undercutting his expansion plans after his cemetery is ransacked.

The San Sebastian Film Festival will fete Cate Blanchett with its honorary Donostia Award at its forthcoming 72nd edition.

EXCLUSIVE: As they open The Fall Guy, a TV series turned feature, director David Leitch and his 87North producing partner Kelly McCormick are eyeing a beloved graphic novel for a TV series.