CANNES -- Last time I was here on the Croisette, David Cronenberg was here with "Cosmopolis," and his son Brandon Cronenberg was here with "Antiviral." It was interesting seeing Brandon make a film that felt like it came from the young and squishy heart of his father, while David made a movie that felt like a genuine explosion of anger without a clear target to land on.
It is easy to say that filmmakers lose steam as they work, that age and success mellow even the most genuinely furious artists, but I don't think that's the case with Cronenberg. After all, since the year 2000, he's made three films that I think are all very strong in their own way and very different than anything he'd done before. "Spider" is an upsetting glimpse into a damaged mind, one that traps us inside looking out rather than trying to explain or excuse. "A History Of Violence" did an exceptional job of digging into the secret faces that even the most intimate of married couples can hide from each other. "Eastern Promises" is just a lean, mean, solid crime thriller with a truly sordid side. And while I don't care for "A Dangerous Method" at all, at least I can understand why Cronenberg would want to tackle a story about the birth of the language we use to dissect modern sexual pathology.