Latest news with #Cronenberg
Cosmopolitan
30-07-2025
- Entertainment
- Cosmopolitan
When 'Together' Movie Will Be Available to Stream and How to Watch
Hollywood's favorite couple just debuted the horror of the summer. Together, starring Alison Brie and Dave Franco, is body horror built for the big screen, landing in theaters July 30. Together premiered at Sundance in January 2025, sparked a fierce bidding war, and was scooped up by Neon for about $17 million. Like most of Neon's recent releases – think Longlegs and Anora – Together is playing in theaters exclusively for the foreseeable future. Neon's traditional model means you're not bumping it into your queue until at least six months post-release—possibly longer, depending on licensing and platform negotiations. So if you're champing at the bit between now and the new year, you'll be catching it in theaters. BUY TICKETS Together's aforementioned elder, Longlegs, hit theaters in July 2024, and didn't stream until February 2025. The buzz and surrounding Together could shorten that window, if the powers at be want to capitalize on the ephemeral moment. If you're opposed to the movie theater experience, you're wrong but you're lucky. You've found yourself in the height of the streaming empire, with access to more content than ever in cinematic history. So, if you're looking for a Together vibe, but are waiting to watch Together alone, here are some sister films to consider. David Cronenberg's The Fly (1986), stars Jeff Goldblum as a scientist whose teleportation machine merges his DNA with that of a housefly. His body begins to deteriorate, alongside his relationship with his journalist girlfriend (Geena Davis). Another '80s hit, Possession (1981) traces a crumbling marriage to its most absurd conclusion– a grotesque transformation in one of cinema's most disturbing depictions of emotional collapse. That aforementioned Cronenberg is really the godfather of body horror and, essentially, walked so the team behind Together could run. His most disturbing and provocative work was Crash (1996), which followed a group of people who derive sexual pleasure from car crashes and bodily trauma. Decades later, Julia Ducournau delivered a Cronenberg inspired body horror for the new age, Titane (2021) follows a woman whose traumatic head injury sparks a sexual attraction to cars. Unhinged Jake Gyllenhaal is a cinematic subgenre at this point in history. Enter Enemy (2013), which stars the star as a reclusive professor who discovers an actor that looks exactly like him. As their lives intertwine, reality fractures, obsession deepens, and identity blurs into psychological horror. Same, same, but different, Swallow (2019) is about a young woman who marries into wealth and develops a compulsive urge to swallow inedible objects like thumbtacks and batteries. It's a haunting meditation on the erasure of self within domestic relationships and patriarchal systems—a film where body horror is internalized and symbolic. If you're having trouble seeing the forest for the trees, all of these movies share themes of mental or emotional strife manifesting itself in the body. Together is the latest to sew together a relationship drama with that thread. As with any horror flick, we are in spoiler territory. Our recommendation? Hit the theaters. Otherwise, we'll meet back here in 2026. Buy Tickets
Metro
04-07-2025
- Entertainment
- Metro
'Expansively unsettling' and deeply personal horror film finally released in UK
To view this video please enable JavaScript, and consider upgrading to a web browser that supports HTML5 video David Cronenberg's latest film The Shrouds is here after being released in the US months prior – and it has been described as 'horrific' and 'fearless.' The revered director – best known for Crash, The Fly, Dead Ringers, and many other genre films – explores death and grief to devastating effect following the story of Karsh (Vincent Cassel), a creative entrepreneur who lost his wife Becca (Diane Kruger). He developed a technology known as The Shrouds, which allows users to monitor a deceased person's body as it decomposes via an app called GraveTech. After graves are destroyed in a GraveTech cemetery, including Becca's, Karsh begins to question if her death was part of a larger conspiracy as he investigates the attack. It has proved to be a deeply personal project for Cronenberg, inspired by his wife, Carolyn Cronenberg, who died of cancer at age 67 in 2017. After being released in the US back in April, the film has finally arrived in the UK as of today – but be warned, it has been hailed 'expansively unsettling' and 'hollowing.' It holds a 76% rating on Rotten Tomatoes, with the critics' consensus reading: 'Ruminating on the love within loss, The Shrouds is a personal and peculiar examination of grief by director David Cronenberg.' In their review, Empire wrote: 'It's a hypnotic descent into the darkness of grief, punctuated by perverse Cronenbergian pleasures.' The Washington Post said The Shrouds 'throbs with raw, human, horrific honesty', while the San Jose Mercury pondered 'How lucky we are to have this boundary pusher still thinking up such bold and provocative films.' Globe and Mail boldly stated: 'With The Shrouds, the filmmaker — not only one of Canada's greatest creations, but cinema's, too — has delivered what might be his career-defining masterpiece.' The Ringer heaped praise on Cronenberg, adding: 'Like 2022's superb Crimes of the Future, The Shrouds serves as a reminder that, at 81 years old, Cronenberg is still one of the world's great filmmakers: bold, uncompromising, clever, and fearless.' Speaking to Variety, Cronenberg explained how he developed the concept of The Shrouds and how the film was almost a Netflix series. 'It was pre-pandemic. I went to L.A. to pitch it to Netflix. At that point, it was a well-formed idea, but it wasn't a script yet,' he revealed. 'The people I talked to there were very receptive, and Netflix gave me the OK to start writing what they call the prototype, which was the first episode of what was then going to be a series. 'And then they liked that enough to tell me to go ahead and write the second episode. After that, they decided not to go forward for various reasons.' More Trending Despite the subject matter of the film and its inspiration, the History of Violence director said he 'did not experience any catharsis' making it, describing grief as 'forever.' 'I don't really think of art as therapy. I don't think it works that way,' he continued. 'If you're an artist, everything you make, you work out of your life experience, no matter what that is. Whether you're rehashing something from your distant past or your present circumstances, there's always creative energy that can be mined from your life. ' The Shrouds is in cinemas now . Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you. MORE: Jurassic World Rebirth leaves fans with clenched stomachs after 'genuinely tense' film debuts MORE: Eagerly anticipated horror's producer explains why '0.0 percent watchable' film flopped MORE: Horror fans 'terrified' after disturbing VHS recordings appear in US towns
The Advertiser
04-07-2025
- Entertainment
- The Advertiser
Cronenberg might be the king of shock but this left me a little cold
The Shrouds MA15+, 119 minutes 3 stars Be warned: this is not a film for all tastes. Canadian writer-director David Cronenberg, now in his 80s, has become indelibly associated with body horror - where the physical form is mutilated, infected, or otherwise treated badly. He's occasionally dabbled in somewhat more conventional fare but it's things like the exploding heads in Scanners and the grotesque transformation in The Fly that spring to mind when his name is mentioned. This film is no exception. The Shrouds has a poignant origin. Cronenberg's wife of more than 40 years, Carolyn, died several years ago from cancer at the age of 66 and he poured some of his grief and devastation into this film. But it's by no means a sentimental wallow. Like many Cronenberg films, it is cool and concerned with ideas as well as characters and story, perhaps easier to admire and think about and discuss than enjoy. Karsh (played by Vincent Cassel, styled to look rather like Cronenberg), a former industrial filmmaker, now has a restaurant, the unique selling point of which is that it's in a cemetery he runs. But it's not just any cemetery. When his wife Becca (Diane Kruger) died a few years earlier from cancer, the grief-stricken Karsh invented Gravetech. It's a technology allowing people to monitor the decay of their deceased loved ones in their graves via specially devised shrouds in which they are contained. The 3D images are live and interactive. It's certainly one way of maintaining a connection with a loved one. Karsh has a grave beside his wife's for when his time comes (I don't think mention is made of who might monitor that). Not surprisingly, this invention has been controversial and makes some uncomfortable. However, people have taken it up and national and international expansion plans are in progress. There's an awkwardly funny scene where Karsh demonstrates Gravetech to a woman while on a blind date their common dentist arranged. She is not seen again. While his dating conversation might need work, Karsh does eventually meet someone, Soo-Yin (Sandrine Holt). She's blind, meaning she can't see the decaying corpses, which might help. Besides monitoring his wife's decay on Gravetech, and conversing with the AI avatar Hunny (voiced by Kruger), Karsh also maintains a connection of sorts through his friendship with Becca's identical sister, Terry (Diane Kruger). His subconscious is haunted by dreams in which Becca comes home to him disfigured and depleted from cancer treatments administered by her oncologist (who's also her ex-lover). There's some very Cronenbergian imagery here. One night, some of the graves including his wife's are vandalised and hackers disrupt the network so the graves cannot be viewed. Both for business and personal reasons, Karsh wants to find out who did this. He calls on Terry's ex-husband Maury (Guy Pearce), who had coded the system's security, to investigate. The character relationships are a bit complicated to unravel and some of the dialogue Cronenberg has written to clarify this comes off as a bit clumsy. Still, it does the job. While Cronenberg is associated with horror, a lot of the time is spent, here as elsewhere, with characters talking, often in subdued fashion. Patience and attention are required. Having begun with a science fiction/technology premise permeated by grief and loss, the film moves into conspiracy territory as Maury and Karsh look into the damage that's been done. Who's behind the sabotage and vandalism? What are the strange protrusions that are manifesting themselves on the corpses? It's intellectually interesting but a little emotionally arid, despite the film's very personal inspiration. Cronenberg to me is rather a cold and distant filmmaker, like the late Stanley Kubrick. But while Kubrick put his characters into a petri dish and observed them through a microscope, Cronenberg is more likely to dissect them. That said, it's impressive that Cronenberg has been able to maintain a long career mostly making original and provocative movies. The Shrouds MA15+, 119 minutes 3 stars Be warned: this is not a film for all tastes. Canadian writer-director David Cronenberg, now in his 80s, has become indelibly associated with body horror - where the physical form is mutilated, infected, or otherwise treated badly. He's occasionally dabbled in somewhat more conventional fare but it's things like the exploding heads in Scanners and the grotesque transformation in The Fly that spring to mind when his name is mentioned. This film is no exception. The Shrouds has a poignant origin. Cronenberg's wife of more than 40 years, Carolyn, died several years ago from cancer at the age of 66 and he poured some of his grief and devastation into this film. But it's by no means a sentimental wallow. Like many Cronenberg films, it is cool and concerned with ideas as well as characters and story, perhaps easier to admire and think about and discuss than enjoy. Karsh (played by Vincent Cassel, styled to look rather like Cronenberg), a former industrial filmmaker, now has a restaurant, the unique selling point of which is that it's in a cemetery he runs. But it's not just any cemetery. When his wife Becca (Diane Kruger) died a few years earlier from cancer, the grief-stricken Karsh invented Gravetech. It's a technology allowing people to monitor the decay of their deceased loved ones in their graves via specially devised shrouds in which they are contained. The 3D images are live and interactive. It's certainly one way of maintaining a connection with a loved one. Karsh has a grave beside his wife's for when his time comes (I don't think mention is made of who might monitor that). Not surprisingly, this invention has been controversial and makes some uncomfortable. However, people have taken it up and national and international expansion plans are in progress. There's an awkwardly funny scene where Karsh demonstrates Gravetech to a woman while on a blind date their common dentist arranged. She is not seen again. While his dating conversation might need work, Karsh does eventually meet someone, Soo-Yin (Sandrine Holt). She's blind, meaning she can't see the decaying corpses, which might help. Besides monitoring his wife's decay on Gravetech, and conversing with the AI avatar Hunny (voiced by Kruger), Karsh also maintains a connection of sorts through his friendship with Becca's identical sister, Terry (Diane Kruger). His subconscious is haunted by dreams in which Becca comes home to him disfigured and depleted from cancer treatments administered by her oncologist (who's also her ex-lover). There's some very Cronenbergian imagery here. One night, some of the graves including his wife's are vandalised and hackers disrupt the network so the graves cannot be viewed. Both for business and personal reasons, Karsh wants to find out who did this. He calls on Terry's ex-husband Maury (Guy Pearce), who had coded the system's security, to investigate. The character relationships are a bit complicated to unravel and some of the dialogue Cronenberg has written to clarify this comes off as a bit clumsy. Still, it does the job. While Cronenberg is associated with horror, a lot of the time is spent, here as elsewhere, with characters talking, often in subdued fashion. Patience and attention are required. Having begun with a science fiction/technology premise permeated by grief and loss, the film moves into conspiracy territory as Maury and Karsh look into the damage that's been done. Who's behind the sabotage and vandalism? What are the strange protrusions that are manifesting themselves on the corpses? It's intellectually interesting but a little emotionally arid, despite the film's very personal inspiration. Cronenberg to me is rather a cold and distant filmmaker, like the late Stanley Kubrick. But while Kubrick put his characters into a petri dish and observed them through a microscope, Cronenberg is more likely to dissect them. That said, it's impressive that Cronenberg has been able to maintain a long career mostly making original and provocative movies. The Shrouds MA15+, 119 minutes 3 stars Be warned: this is not a film for all tastes. Canadian writer-director David Cronenberg, now in his 80s, has become indelibly associated with body horror - where the physical form is mutilated, infected, or otherwise treated badly. He's occasionally dabbled in somewhat more conventional fare but it's things like the exploding heads in Scanners and the grotesque transformation in The Fly that spring to mind when his name is mentioned. This film is no exception. The Shrouds has a poignant origin. Cronenberg's wife of more than 40 years, Carolyn, died several years ago from cancer at the age of 66 and he poured some of his grief and devastation into this film. But it's by no means a sentimental wallow. Like many Cronenberg films, it is cool and concerned with ideas as well as characters and story, perhaps easier to admire and think about and discuss than enjoy. Karsh (played by Vincent Cassel, styled to look rather like Cronenberg), a former industrial filmmaker, now has a restaurant, the unique selling point of which is that it's in a cemetery he runs. But it's not just any cemetery. When his wife Becca (Diane Kruger) died a few years earlier from cancer, the grief-stricken Karsh invented Gravetech. It's a technology allowing people to monitor the decay of their deceased loved ones in their graves via specially devised shrouds in which they are contained. The 3D images are live and interactive. It's certainly one way of maintaining a connection with a loved one. Karsh has a grave beside his wife's for when his time comes (I don't think mention is made of who might monitor that). Not surprisingly, this invention has been controversial and makes some uncomfortable. However, people have taken it up and national and international expansion plans are in progress. There's an awkwardly funny scene where Karsh demonstrates Gravetech to a woman while on a blind date their common dentist arranged. She is not seen again. While his dating conversation might need work, Karsh does eventually meet someone, Soo-Yin (Sandrine Holt). She's blind, meaning she can't see the decaying corpses, which might help. Besides monitoring his wife's decay on Gravetech, and conversing with the AI avatar Hunny (voiced by Kruger), Karsh also maintains a connection of sorts through his friendship with Becca's identical sister, Terry (Diane Kruger). His subconscious is haunted by dreams in which Becca comes home to him disfigured and depleted from cancer treatments administered by her oncologist (who's also her ex-lover). There's some very Cronenbergian imagery here. One night, some of the graves including his wife's are vandalised and hackers disrupt the network so the graves cannot be viewed. Both for business and personal reasons, Karsh wants to find out who did this. He calls on Terry's ex-husband Maury (Guy Pearce), who had coded the system's security, to investigate. The character relationships are a bit complicated to unravel and some of the dialogue Cronenberg has written to clarify this comes off as a bit clumsy. Still, it does the job. While Cronenberg is associated with horror, a lot of the time is spent, here as elsewhere, with characters talking, often in subdued fashion. Patience and attention are required. Having begun with a science fiction/technology premise permeated by grief and loss, the film moves into conspiracy territory as Maury and Karsh look into the damage that's been done. Who's behind the sabotage and vandalism? What are the strange protrusions that are manifesting themselves on the corpses? It's intellectually interesting but a little emotionally arid, despite the film's very personal inspiration. Cronenberg to me is rather a cold and distant filmmaker, like the late Stanley Kubrick. But while Kubrick put his characters into a petri dish and observed them through a microscope, Cronenberg is more likely to dissect them. That said, it's impressive that Cronenberg has been able to maintain a long career mostly making original and provocative movies. The Shrouds MA15+, 119 minutes 3 stars Be warned: this is not a film for all tastes. Canadian writer-director David Cronenberg, now in his 80s, has become indelibly associated with body horror - where the physical form is mutilated, infected, or otherwise treated badly. He's occasionally dabbled in somewhat more conventional fare but it's things like the exploding heads in Scanners and the grotesque transformation in The Fly that spring to mind when his name is mentioned. This film is no exception. The Shrouds has a poignant origin. Cronenberg's wife of more than 40 years, Carolyn, died several years ago from cancer at the age of 66 and he poured some of his grief and devastation into this film. But it's by no means a sentimental wallow. Like many Cronenberg films, it is cool and concerned with ideas as well as characters and story, perhaps easier to admire and think about and discuss than enjoy. Karsh (played by Vincent Cassel, styled to look rather like Cronenberg), a former industrial filmmaker, now has a restaurant, the unique selling point of which is that it's in a cemetery he runs. But it's not just any cemetery. When his wife Becca (Diane Kruger) died a few years earlier from cancer, the grief-stricken Karsh invented Gravetech. It's a technology allowing people to monitor the decay of their deceased loved ones in their graves via specially devised shrouds in which they are contained. The 3D images are live and interactive. It's certainly one way of maintaining a connection with a loved one. Karsh has a grave beside his wife's for when his time comes (I don't think mention is made of who might monitor that). Not surprisingly, this invention has been controversial and makes some uncomfortable. However, people have taken it up and national and international expansion plans are in progress. There's an awkwardly funny scene where Karsh demonstrates Gravetech to a woman while on a blind date their common dentist arranged. She is not seen again. While his dating conversation might need work, Karsh does eventually meet someone, Soo-Yin (Sandrine Holt). She's blind, meaning she can't see the decaying corpses, which might help. Besides monitoring his wife's decay on Gravetech, and conversing with the AI avatar Hunny (voiced by Kruger), Karsh also maintains a connection of sorts through his friendship with Becca's identical sister, Terry (Diane Kruger). His subconscious is haunted by dreams in which Becca comes home to him disfigured and depleted from cancer treatments administered by her oncologist (who's also her ex-lover). There's some very Cronenbergian imagery here. One night, some of the graves including his wife's are vandalised and hackers disrupt the network so the graves cannot be viewed. Both for business and personal reasons, Karsh wants to find out who did this. He calls on Terry's ex-husband Maury (Guy Pearce), who had coded the system's security, to investigate. The character relationships are a bit complicated to unravel and some of the dialogue Cronenberg has written to clarify this comes off as a bit clumsy. Still, it does the job. While Cronenberg is associated with horror, a lot of the time is spent, here as elsewhere, with characters talking, often in subdued fashion. Patience and attention are required. Having begun with a science fiction/technology premise permeated by grief and loss, the film moves into conspiracy territory as Maury and Karsh look into the damage that's been done. Who's behind the sabotage and vandalism? What are the strange protrusions that are manifesting themselves on the corpses? It's intellectually interesting but a little emotionally arid, despite the film's very personal inspiration. Cronenberg to me is rather a cold and distant filmmaker, like the late Stanley Kubrick. But while Kubrick put his characters into a petri dish and observed them through a microscope, Cronenberg is more likely to dissect them. That said, it's impressive that Cronenberg has been able to maintain a long career mostly making original and provocative movies.
The Age
03-07-2025
- Entertainment
- The Age
In what might be his final film, David Cronenberg keeps it perverse
THE SHROUDS ★★★★ MA, 120 mins Going by recent reports, The Shrouds may be the last film from 82-year-old David Cronenberg, Canada's onetime king of 'body horror'. If so, it's an apt farewell – typically morbid, perverse and self-mocking, but also emotionally direct in the manner of some of his most durable classics, such as The Dead Zone and The Fly. Vincent Cassel, who stars as an eccentric tech entrepreneur named Karsh, is a generation younger than Cronenberg but here bears an unmistakable resemblance to his director, with slicked-back white hair, a long bony face that lends itself to dramatic lighting, and the detached verve of a scientist who enjoys the process of dissection. He also recalls some of Cronenberg's earlier eccentric leading men, such as Christopher Walken as a troubled psychic in The Dead Zone, especially when he's flashing a disconcerting grin. Like Walken, Cassel has a knack for throwing us off-balance through his speech rhythms, though in Cassel's case this is partly the consequence of being a native French speaker acting in English. Loading Karsh, like Cronenberg, has 'made a career out of bodies,' in a very literal way. His ventures include a cemetery where the tombstones come equipped with screens, allowing you to log in and watch the corpse of your loved one rotting in real time. Naturally, there's an app for this, known as GraveTech (there's also a restaurant adjacent to the cemetery, encouraging visitors to make a day of it). How many takers there would be for the scheme in real life is hard to say. But this is Cronenberg world, although we're nominally in something resembling present-day Toronto. In any case Karsh is his own most enthusiastic client, maintaining an ongoing relationship with the body of his wife Becca (Diane Kruger) years after her early death from cancer.
Sydney Morning Herald
03-07-2025
- Entertainment
- Sydney Morning Herald
In what might be his final film, David Cronenberg keeps it perverse
THE SHROUDS ★★★★ MA, 120 mins Going by recent reports, The Shrouds may be the last film from 82-year-old David Cronenberg, Canada's onetime king of 'body horror'. If so, it's an apt farewell – typically morbid, perverse and self-mocking, but also emotionally direct in the manner of some of his most durable classics, such as The Dead Zone and The Fly. Vincent Cassel, who stars as an eccentric tech entrepreneur named Karsh, is a generation younger than Cronenberg but here bears an unmistakable resemblance to his director, with slicked-back white hair, a long bony face that lends itself to dramatic lighting, and the detached verve of a scientist who enjoys the process of dissection. He also recalls some of Cronenberg's earlier eccentric leading men, such as Christopher Walken as a troubled psychic in The Dead Zone, especially when he's flashing a disconcerting grin. Like Walken, Cassel has a knack for throwing us off-balance through his speech rhythms, though in Cassel's case this is partly the consequence of being a native French speaker acting in English. Loading Karsh, like Cronenberg, has 'made a career out of bodies,' in a very literal way. His ventures include a cemetery where the tombstones come equipped with screens, allowing you to log in and watch the corpse of your loved one rotting in real time. Naturally, there's an app for this, known as GraveTech (there's also a restaurant adjacent to the cemetery, encouraging visitors to make a day of it). How many takers there would be for the scheme in real life is hard to say. But this is Cronenberg world, although we're nominally in something resembling present-day Toronto. In any case Karsh is his own most enthusiastic client, maintaining an ongoing relationship with the body of his wife Becca (Diane Kruger) years after her early death from cancer.
