When we think of directors who are famous for what they’ve done in a specific genre, it’s weird to see a movie from them that is so enriched by their personal life and feels like an incredibly personable film. That is exactly what we get from David Cronenberg’s (Videodrome; Crash) latest, The Shrouds, and while it is not a bad thing, it just isn’t exactly what audiences are expecting from one of the masters of horror and body horror. The Shrouds is a deeply emotional and personal film that gets lost in one of the most absurd performances delivered and takes massive swings with most not making it out of the park. The ambition is admirable and the personal touch is honestly warming, but the movie as a whole takes too many leaps, doesn’t focus on the more interesting things, and leaves audiences slightly confused as the credits roll.
The Shrouds focuses on Karsh (Vincent Cassel) as he is grieving the loss of his wife, Becca (Diane Kruger), and has created a device so the living can look into a buried casket and have their departed loved one still be a part in their lives. It truly is something haunting and disturbing, but in the time of grieving, anything that can bring peace is something we reach out for. A body in Karsh’s cemetery can be covered in an augmented burial shroud which provides a feed in real time, in 4K high definition. It’s programmed so that only the surviving family who have access to the account can view their departed. Without giving away too much, there is a clear moral ambiguity here and some nefarious purposes this enclosed network can be used for, which is our main plot — something goes wrong and Karsh enlists the help of Becca’s sister Terry (also Diane Kruger) and Becca’s ex-husband Maury (Guy Pearce) to figure out what has happened to his technology, who’s targeting him, and what he can do to prevent it from continuing and bring peace to the families.
Vincent Cassel as Karsh in THE SHROUDS. Photo courtesy of TIFF.
Cronenberg has not been shy about discussing the extent to which this film is personal to him after losing his wife to cancer, and the general concept and heart of the story works because of it. Surely going into something that is a breeding ground for astonishing body horror from one of the masters is going to invite high expectations (and there are moments), but the core of the story is something heartfelt and passionate. It gets sidetracked into political commentary and nuances about deception, betrayal, love after loss, and politicized discussions are not it’s strong suit for the most part, but the film does have some moments of true ingeniousness. While the script was rocky for The Shrouds, the direction certainly did not lack the experience and flare that Cronenberg brings to his films. It is expertly crafted in that regard and shines brightest when he is truly playing around in his playground, getting the audience to feel uncomfortable or uneasy with what he chooses to focus on.
Diane Kruger (Inglourious Basterds; National Treasure) playing three different characters (really two, but, alas,) is terrific as all three personas and conveys her range effortlessly in her performances, while Guy Pearce (Memento; Iron Man 3), playing the tech weirdo, is great in the role, but miscast. While his performance is strong and compelling, just believing that Guy Pearce is a dishevelled mess who cannot get things together but has only an aptitude for tech seems slightly puzzling. The issue in the cast unfortunately lies with Vincent Cassel (Black Swan; Shrek), whose appearance and candace in the film is a David Cronenberg stand in. His performance, at times, evokes emotion and passion, while at other moments he becomes an imitation of Tommy Wiseau (The Room (2003)); it is so jarring and weird to see an actor playing a character and have a performance that literally juxtaposes itself, but that is what Cassel delivered.
The Shrouds may be the most personable film for legendary director David Cronenberg to date, and it is certainly going to add fuel to the fire of people who have labeled the director as being done, but he broke out of his typical mold to do something new. When making something so entranced in personal life and circumstance, there is going to be tunnel vision. While The Shrouds does deliver on some body horror, a totally bizarre and tonal shift within a singular character and confused messaging suggest that, overall, The Shrouds may have been better left in the ground for us to view passively rather than being brought fully to life.
Screening during Toronto International Film Festival 2024.
In select theaters April 25th, 2025.
For more information, head to the official Toronto International Film Festival 2024 The Shrouds webpage.
Final Score: 3 out of 5.
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Categories: In Theaters, Reviews
I wonder if Guy Pearce and Vincent Cassel should have switched roles would it have made a difference?