I’ve been a fan of David Cronenberg’s work since I first saw a series of his films during a late-night horror marathon. His career has spanned decades, covering a wide range of genres. From his more commercial ventures to his obscure and dark films, he has consistently maintained a unique vision since his early work, long before the horror masterpieces of the ’80s hit cinemas. Yet few films feel as deeply personal as his latest outing, The Shrouds, which premiered at TIFF 2024.
As with any of Cronenberg’s films, it’s difficult to capture the essence in a simple synopsis, but I’ll try to highlight the key points to give you a sense of what to expect. The Shrouds follows Karsh (Vincent Cassel), a wealthy entrepreneur who, after losing his wife Becca (Diane Kruger) to cancer, develops a revolutionary technology called shrouds, with GraveTech quickly becoming a brand everyone wants a piece of. This morbid invention allows the living to monitor the decaying bodies of their loved ones in real-time, using sensors embedded in the burial wraps. As Karsh becomes increasingly obsessed with his creation and the memory of his wife, mysterious events unfold, including the unearthing of several graves equipped with GraveTech, including his wives.
As always, Cronenberg’s cinematic world feels both familiar and unsettling, giving the everyday actions of its characters a dreamlike quality, stripping away the grounding force most films prioritize. The Shrouds is set in a near-future Toronto, where the line between technology and the afterlife has blurred. The film’s atmosphere is infused with an eerie sense of loss, with Cronenberg’s signature style evoking a constant state of unease. Yet, even with this gloom resting just under the surface, there is a lot going on within the film that begs the viewer to watch and try and understand, even as it holds any answers just out of reach.
This is a personal story from Cronenberg, so much so that his protagonist is even made to look like the director. While awkward at times, Vincent Cassel delivers a truly unique performance as Karsh, a man torn between his grief and his obsession. Throughout the film, Cassel portrays Karsh as a deeply troubled individual struggling to cope with his wife’s death and the simple act of human contact. His interactions with other characters, particularly his brother-in-law Maury (Guy Pearce) and Becca’s doppelgänger sister-in-law Terry (also played by Kruger), are laced with a palpable sense of paranoia and desperation, with everything feeling forced and awkward.
“While The Shrouds doesn’t push the envelope of gore and body horror as much as some of Cronenberg’s other films, it remains an unsettling watch.”
Cassel is a seasoned actor in both French and English cinema and TV, so his portrayal as awkward and detached was jarring—but it works in this film. He feels almost removed from the world he inhabits, living in a dream-like state, spending more time reflecting on the past and his eventual death than engaging with the people in his life. Even when Cronenberg introduces sexuality into the mix, it never feels natural, as it’s always cloaked in a detached haze.
While I wasn’t sure where Cronenberg was heading in the first part of the film, once Diane Kruger was introduced, I was eager to see more. She shines in her multiple roles, showcasing her versatility as an actress. As Becca, she haunts Karsh’s memories, her image distorted by his grief-stricken mind. In the role of Terry, Kruger brings a sense of ambiguity, leaving the audience questioning her motives and her connection to the strange occurrences surrounding GraveTech.
While The Shrouds doesn’t push the envelope of gore and body horror as much as some of Cronenberg’s other films, it remains an unsettling watch. The film delves into the psychological impact of grief, exploring how the mind can conjure conspiracy theories and alternate realities as a coping mechanism. And don’t worry—there’s still some body horror to keep things deeply unsettling. Cronenberg also touches on the ethical implications of using technology to cling to the dead, questioning whether such advancements bring solace or merely prolong the grieving process. While the film doesn’t offer a clear answer, the ending will leave you questioning everything you’ve just watched.
I’ve always loved the visual style of most of Cronenberg’s work, but despite some intriguing concepts in The Shrouds, the look didn’t grab me the way many of his other films have. Everything feels sterile and cold (which suits the subject matter), but it lacks the usual human touch that makes his worlds feel lived in, even when they are disturbing and hard to grasp. While the aesthetic fits the film’s themes, effectively conveying a world at odds with truly living, it simply didn’t resonate with me as much as I’d hoped.
The Shrouds isn’t a film for everyone, and even for Cronenberg fans, it may be a difficult watch. However, if given the time, there’s much to explore and unpack within its nearly two-hour runtime. It is undoubtedly a thought-provoking and emotionally resonant work, showcasing Cronenberg’s ability to examine the human condition through the lens of horror and science fiction.
With its stellar performances, unsettling atmosphere, and thought-provoking themes, The Shrouds is a must-see for fans of the director and for those who appreciate challenging, boundary-pushing cinema. While not without its flaws, The Shrouds offers a compelling exploration of grief, technology, and the human desire for connection in the face of loss. I can’t wait for this film to be dissected in film classes worldwide, with everyone trying to decipher the cryptic ending. Cronenberg has built a career on pushing the boundaries of cinema, and The Shrouds proves he shows no signs of stopping.