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Showing posts with label Antiviral. Show all posts
Showing posts with label Antiviral. Show all posts

THE BLACK SHEEP INTERVIEW: BRANDON CRONENBERG (ANTIVIRAL)

Saturday, October 13, 2012

THIS IS SICK.
An interview with ANTIVIRAL writer/director, Brandon Cronenberg

Imagine a world, if you will, where celebrity obsession has reached truly disturbing heights. Your neighbour stops by the local butcher on his way home to pick up steaks that have been genetically engineered from cells derived from the latest teen sensation; or maybe your mother stops by the clinic to have the same strain of hepatitis that was once in an Oscar winner, injected into her own blood stream. All so that they can be closer to their idols in ways they never could before. It’s a new world, an unsettling world; it is a world one man concocted in his head in the midst of one heck of a furious fever dream.

“I was in a weird head space, obsessing over the physicality of the disease, the fact that I had something physically in my body that had come from someone else’s body,” explains writer/director, Brandon Cronenberg, of the inspiration behind what would become his senior short film project and eventually go on to become ANTIVIRAL, his first feature. “It struck me as a weirdly intimate thing, someone else’s cells penetrating your cells. It’s pretty sexual and pretty intimate if you think of it that way. I then tired to think of a character that would see disease that way and came up with a celebrity obsessed fan.”

If the whole thing still sounds a bit too much to take, keep in mind where Cronenberg comes from. Brandon is the son of David Cronenberg, one of Canada’s most famous directors, who made a name for himself in the 1980’s as a horror master, with films like THE FLY and DEAD RINGERS. Between his father’s warped inspiration and the celebrity interactions Brandon had growing up, ANTIVIRAL starts to make a little more sense.

Cronenberg checking the playback.

“Obviously through my father, I was exposed to a lot of celebrity,” Cronenberg describes to me when we meet at the 2012 Toronto International Film Festival, where ANTIVIRAL had its North American premiere, following its world premiere in Cannes. “One of the themes in the film is this disconnect celebrities have as these cultural constructs and media constructs and the human beings that these constructs actually are. It’s not a revelation that what is conveyed in magazines isn’t completely factual, but to really see it first hand, the extent to which that is fictionalized, you can really see how far removed that is from the people themselves.”

Despite growing up around film, Brandon was adamantly against the idea of ever getting involved in it himself for a long time. “Until I was 24, I really hated the idea of getting into film,” he explains of his naturally youthful defiance. “Just because I grew up around it, I would get approached with these preconceptions that I must love film. At a certain point, I realized that this was a bad reason not to get into something I found interesting.”

ANTIVIRAL star, Caleb Landry Jones, in front of a massive Sarah Gadon billboard.

Brandon is also acutely aware of the level of scrutiny he is facing with his first feature, a horror one at that, having come from horror royalty. “In terms of individualism, everybody, well I shouldn’t say everybody, but certainly a lot of people, are affected by our relationship and interpret the film in the context of my father’s career, which was to be expected,” he confides, without a trace of disdain. “I think some of the comparisons are legitimate and some of them are vastly overstated. I was going to get that anyway; I was getting it before I even got into film.”

Regardless of where it’s coming from or why it’s coming his way, Brandon is just excited that people are seeing ANTIVIRAL as a result. “One of the great things about film as a medium is that it is still quite prominent in our cultural landscape. People still get angry about film. People still react to them very strongly. This degree of scrutiny is very strange to experience but it’s also great because I just want people to see the film. I’m happy to have it.”


See it, they will, but if they’re anything like me, they might have to look away from the screen now and then because ANTIVIRAL is just that horrifying. But have you really done your job as a horror director if that doesn’t happen?

ANTIVIRAL is playing now across Canada.

ANTIVIRAL

Tuesday, September 11, 2012

ANTIVIRAL
Written and Directed by Brandon Cronenberg
Starring Caleb Landry Jones, Sarah Gadon and Malcolm MacDowell

Syd March: Celebrities are not people; they are a group hallucination.

ANTIVIRAL, the debut feature from Canadian writer/director, Brandon Cronenberg, is being billed as a horror film. While it does offer up some significantly scary moments and I did have to look away in disgust on more than one occasion, the most frightening thing about ANTIVIRAL has absolutely nothing to do with the horror you may be accustomed to. The thing that’s coming to kill us here is our own ever worsening obsession with celebrity and fame.

Cronenberg, son to infamously macabre director, David Cronenberg, paints a fairly desolate picture of our contemporary existence. Visually, everything seems so drab, as if we’ve stopped living with any actual passion. If it weren’t for his bright, ginger hair, we would likely not even notice the story’s “hero”, Syd March (Caleb Landry Jones), for his pale skin blends right in with the sterile background. Syd works for The Lucas Clinic, one of a handful of medical treatment facilities that allows people to get closer to their favorite celebrities in ways you would never even imagine. This clinic gives its patients the chance to infect themselves with diseases exclusively obtained from the elite celebrity community. Now, not only can you know everything about them, but you can have something that was once inside of them, inside of you.


Syd drives the rest of ANTIVIRAL with an attempt to sell the latest celebrity disease on the black market, which goes horribly awry. His struggle is a truly disturbing one but the brilliance of Cronenberg’s debut is that no matter how repulsive Syd’s exaggerated journey is, we can never forget that it is our very real celebrity fixation that inspired it to begin with.




 

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