The Shrouds 2024 Full Movie Watch Subtitles
acceptable be the right word?
Chronology
Karsh, an innovative businessman and grieving widower, builds a device to connect with the dead inside a shroud. Diane Kruger replaced Léa Seydoux in her role.. Referenced in Film Junk Podcast: Episode 961: In a Violent Nature + TIFF 2024 (2024). Compared to the very mediocre “Crimes of the Future,” Cronenberg’s previous effort and return to the body horror subgenre for which he was famous, “The Shrouds” was released. Could a return to doing something…
But following our rather bland protagonist through an investigation that grows more tedious by the minute is still a tall order
But as in that previous film, in almost every scene of “The Shrouds” you’ll probably think of another similar Cronenberg film that, quite possibly, did better. This may remind you in particular of the brilliant “Crash,” which deals with similar themes of macabre voyeurism and sexual fascination with death, physical corruption, and injury in a much more memorable way. It’s the curse of older, accomplished filmmakers that their latest offerings are endlessly compared to their earlier masterpieces, but it’s also inevitable when said filmmakers are so clearly out of ideas. That the story, which is far more elaborate than in “Crimes of the Future,” literally goes nowhere is not a major problem – it’s just a sideshow to play with more fundamental themes. I challenge you to actually care about the answers surrounding the many mysteries at the heart of “The Shrouds.” You shouldn’t expect answers anyway.
Perhaps worse, his supposed fascination never feels real, authentic, all-consuming
What matters is our protagonist’s psyche, which is made clear by the opening scene (and I suspect the very last one, which had some of the packed audience laughing at its rather spectacular unfolding of the story in the middle of nowhere). Both scenes convey the idea that the story is really about dealing with the grief of the death of a loved one, which makes sense given that Cronenberg drew inspiration from the death of his wife to create the story. Yet again, it all feels like a late variation (if not an actual repeat) of things Cronenberg has already done and said, rather than a late new angle on these same issues. What bothers me most is how the protagonist never feels like he was. He is truly troubled at his psychic core by what is happening to him; Vincent Cassel, who is certainly the equal of James Woods or James Spader, is quite good as the cool, cold tech entrepreneur interested in minimalism and crypto-necrophilia, but when it comes to expressing any sort of compulsion and fascination, there is simply too little of it to sustain the film.
None of that here, with an interesting premise that is never really explored
No descent into the shadow side for our hero, no journey through the uncharted, crude swamps of his soul – or those of contemporary society. And that, for me, is what is most disappointing about “The Shrouds.” How the other pole of the director’s work, technology, is never really addressed. His best horror films explore the collective unconscious and how we, as humans, interact with technology. How there is no real opposition between the organic and the machine but a real symbiosis in the making. How we are signified by our instincts and our unconscious desires to reclaim, merge and do indescribable things with our gadgets.
Implementing mobile phones, self-driving Teslas and personal AI is like uninspired box-ticking
The AI assistant part of the plot should have been elaborated, like so many others, even if I understand the idea: behind our machines and our supposedly autonomous technology, there are us and our unconfessed and shameful desires. Too bad “The Shrouds” decides to stay on the surface rather than digging up the corpses that haunt our fantasies.
