It says a lot about the current state of theatrical that the latest film from David Cronenberg is still seeking U.S. distribution, almost five months since its Cannes debut. “The Shrouds” screened at TIFF this week, and reactions, more or less, parallel those from Cannes.
Yes, Cronenberg’s film was met with lukewarm reviews — I was underwhelmed by it as well— although it does seem to be loved by a small contingent of admirers. “The Shrouds” has a 57 on Metacritic and 64% on Rotten Tomatoes. You do have to wonder which indie studio will be willing to take the risk with this film.
Cronenberg’s latest has Vincent Cassel playing an innovative businessman, and grieving widower, who builds a cemetery that allows mourners to connect with their loved one’s dead bodies as they decompose in real time via underground cameras. Diane Kruger has two roles in "The Shrouds": The late wife of Cassel's character, seen in flashbacks, and the sister of the wife. Guy Pearce plays Kruger’s paranoid, conspiracy-obsessed ex-husband.
As it stands, there are still six Cannes competition titles without distribution: “The Shrouds,” Emanuel Parvu’s “Three Kilometers to the End of the World,” Christophe Honore’s “Marcello Mio,” Krill Serebrenikkov’s “Limonov,” Michel Hazanavicius’ “The Most Precious of Cargoes,” Gilles Lelouche’s “Beating Hearts,” and Karim Ainouz’s “Motel Destino.”