One of Franju's last films is a made-for-TV piece about an ageing man who returns to his family home to survey the damage of his life there - a religious wife with whom his relations are somewhat strained although still cordial, an absolute shit of a daughter always looking for an argument and if you compliment something she did, her face shrivels up bitterly to respond "your sarcasm, like before," a son who initially dabbles in Nazi idolatry before turning…
Jesus Christ the juxtaposition between Nurse Forsythe's "disturbing dream" and fucking-the-scar scene is probably the eeriest and on-the-nose contextualising of Cronenberg's oeuvre. In many ways, this is probably the most illuminating discussion between Cronenberg's ideas and thought processes and an interviewer who acts a decoder and even puts forth certain facets with which while not necessarily challenging Cronenberg, definitely provide an insight for which he could accept and perhaps explore. The effect of two people in a room (one of which is Cronenberg) watching two Cronenberg films at the same time and having a conversation about their effect as a whole is simplicity at its finest.
This review may contain spoilers. I can handle the truth.
If there were ever a further illustration of how to lose a philosophy for your film with a director who's big on visuals but a little bit sketchy on storyline, this is your prime suspect. I had dreaded this film since it was made public that they were setting up a sequel.
Visually it looks quite easy on the eye but to my mind it looks a little too clean and orderly for a post-apocalyptic world, there's no real sense…
It's basically a toilet changing colours set to a Toshi Ichiyanagi soundtrack that sounds like you're in the midst of a nuclear meltdown. Coupled with the visuals, it goes rather well I think. Having said that, this is the kind of film you would (or could) see getting spoofed on comedy shows that make fun of pretentious avant-garde/arthouse cinema types because it's THAT kind of film.