Antiviral @ 10: The Beginning of Brandon Cronenberg

by Cláudio Alves

It's been a decade since Brandon Cronenberg came into the scene, with Antiviral as his feature debut. That film was preceded by a couple of shorts, succeeded by various music videos, Possessor, and this year's Infinity Pool. Common themes reverberate through his oeuvre, linking him to his father's cinema. Like David, Brandon Cronenberg works within dimensions of horror, often considering transcendence through the body and the body transcended, altered, made a dream cum nightmare. Yet, despite similar interests, shared names, linked blood, father and son feel like unique auteurs, their connections superficial. One would expect the nepo baby to forever live in his patriarch's shadow, but maybe not…

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LFF: A Conversation on "Antiviral" and Cronenberg Jr.

Craig here with another LFF report. David & I have a chat about Brandon Cronenberg's striking debut feature Antiviral, showing today at the festival.

Craig: It’s all about celebrity skin in Antiviral as characters indulge in, ahem, the pleasures of the flesh in one form or another. This being the first feature from David Cronenberg’s son Brandon, I perhaps expected a plentiful supply of gratuitous bodily harm. Having no idea prior to seeing the film just what it was about –  all I knew was that it was partially set in a mysterious clinic for the stars – the film came as a minor revelation: not only because, for a debut feature, the filmmaking was of an uncommonly high calibre, but also because the most interesting Cronenberg film this year wasn’t brought to us by the oldest member of the Cronenberg clan. 

David: I always seem to begin these conversations with a caveat: this time, it's that I missed Cosmopolis, though the wild variety of reactions has me eager to get my teeth into it. But in a general sense, I agree on your point: Antiviral certainly has echoes of the David Cronenberg of the 1980s, mixing an obsession with the body and its orifices – even if many of these are false ones created with a needle – with a cool depiction of technology's terrifying possibilities.

Craig: Yes, even if he doesn’t entirely map out his own territory, Cronenberg Jr asserts himself as a director of impeccable style. On the one hand, David’s influence is certainly pronounced, as well it might be, but on the other hand, dare I say it (and I hate to say it), Brandon has made the kind of film I was hoping for from Cronenberg Sr. senior this year.

David: This might just be me and my limited experience of Cronenberg Sr., but Antiviral seems quite crisp and clinical where I recall his father's films as visually darker and emotionally grubbier. Brandon's use of space, particularly, reminded me less of his father's filmography and more of Julia Leigh's Sleeping Beauty and Todd Haynes' Safe [continue...]

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"Silver Linings" Wins TIFF. Here's What It Means Statistically For Oscar.

The Toronto International Film Festival wraps up today (movies are still being projected, though, even as I type) and the awards are out. Silver Linings Playbook took the Audience Prize, which is usually a good sign for Oscar. 10 of the 34 past winners have gone on to Best Picture nominations with 4 eventually winning the top prize (The King's Speech, Slumdog Millionaire, American Beauty and Chariots of Fire). That group of 34 films also includes 1 Best Documentary Oscar winner and 9 Best Foreign Language Film nominees (5 of them eventual winners.)  It's not fail safe of course. Last year's winner Where Do We Go Now? looked strong for Oscar foreign play but wasn't nominated and the previous winner's list includes various sixth-slotters like Amélie and Hotel Rwanda which didn't quite make their respective Best Picture lineups. But to make this long story much shorter this is the silver lining for Silver Linings come December; expect big golden things.

Other Winners...

Canadian Feature: Xavier Dolan's transsexual drama Laurence Anyways starring Melvil Poupad.
Canadian Directorial Debut: [TIE] Brandon Cronenberg's (Son Of David!) body horror drama Antiviral and Jason Buxton's teen violence drama Blackbird two chillers from up north.
Canadian Short: Keep a Modest Head by Deco Dawson

Brandon Cronenberg's debut features Sarah Gadon, his dad's current muse (A Dangerous Method / Cosmopolis).

FIPRESCI Prize Special Presentation: François Ozon's In the House which stars Kristin Scott Thomas as the wife of a French teacher (Fabrice Luchini) whose gifted teenage student is writing too intimately about the people in his life.
FIPRESCI Prize Discovery: Mikael Marsiman's Call Girl is based on the true story of a 1970s prostitution ring in Sweden.
Audience Award Documentary: Artifact finds Jared Leto's band "30 Seconds To Mars" battling their record label. More on this one soon.
Audience Award Midnight Madness: Seven Psychopaths from the singular comic talent Martin McDonagh
Asian Film: Sion Sono's Japanese tsunami survival drama The Land of Hope 

THE LAND OF HOPE (The Impossible isn't the only tsunami drama out there)

TIFF hits that lost out included Sarah Polley's reportedly bewitching Stories We Tell and the two runners up to the big People's Choice prize: Ben Affleck's Argo (of which you're already as familiar as you can be without seeing the damn thing) and Eran Riklis' Zaytoun which is a war drama about an Israel fighter pilot (Stephen Dorff) shot down over Lebanon.

TIFF devotee we appreciate most: Amir. 

TIFF virgin we're crazy jealous of: Nick. 

TIFF fringe dweller who never even made it to Canada: Nathaniel... [sniffle]

For what it's worth expect much more festival coverage for NYFF (coming very soon). Michael Cusumano and I will both hit the fest and share our reactions right here.