THE SHROUDS: 3 ½ STARS. “uneasy and queasy portrayal of the pain of loss.”
SYNOPSIS: In “The Shrouds,” a new film from David Cronenberg, and now playing in theatres, a grieving businessman is drawn into a world of jealousy and conspiracy when he markets a new, high-tech kind of interment designed to console those left behind.
CAST: Diane Kruger, Vincent Cassel, Guy Pearce, and Sandrine Holt. Written and directed by David Cronenberg.
REVIEW: Technology has invaded every aspect of our lives, and now, in the new David Cronenberg film “The Shrouds,” it invades death as well.
Vincent Cassel plays Karsh, a wealthy businessman still reeling from the death of his wife Becca. “When they lowered my wife into the coffin,” Karsh says, “I had an intense urge to get in the box with her.” In response he invents GraveTech, essentially a service that allows grieving loved ones see inside the graves of their dearly departed family members as they decompose in their shrouds.
Located next to a theme restaurant called The Shrouds, the cemetery features the latest in boneyard tech. Controlled by an app, the graves come complete with a monitor on the headstone. “It’s basically kind of a camera in her grave,” says Karsh. “It comforts me.”
As Karsh makes plans to expand his business to Iceland and Budapest, a group of activists desecrate nine of the high-tech graves, including Becca’s final resting spot. That attack becomes the catalyst for the film’s action, sending Karsh into a murky world of conspiracy, jealousy, hallucination and obsession.
“The Shrouds” may be the very definition of a movie that is not for everyone. “How dark are you willing to go?” Karsh asks at one point, and the answer is pitch black. A study in grief without a whiff of sentimentality, this is an uneasy, and occasionally queasy, representation of the pain of loss.
Cronenberg, who lost his wife Carolyn to cancer after 38 years of marriage, says he was inspired to write “The Shrouds” by his own experiences with grief. And while the movie bears his trademarked fusion of psychological and physical elements, of technology and flesh, and his clinical approach to the material, the movie still pulsates with vulnerability. The setting is surreal, but the story’s underlying motivation is personal, motivated by the thorny act of grieving.
“The Shrouds” is Cronenberg’s most personal film and is as complicated, and occasionally confounding, as the act of grief itself.
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