Cronenberg's exploration of contemporary Wall Street is an interestingly conceived "moving" one point of view. It's elaboration, though, awkward as a grandparents image of today's cyber yuppies, with bunch of character references none of which seems to stand on it's own or offer anything new, but out of place dialogues trying way too hard to sell controversy.
A king's throne amid an alcázar of technology & data, his limousine--his erratic psyche dampening the world-- advancing(regressing?) toward childhood, foundational innocence, a haircut. In creating such scenic restrictions, Cronenberg awakens a new kind of cinema. Capital, mutable bodies, the urge to feel anything. Don't be deceived: no banal postmodern thematics here. The real becomes unreal; emotion must be earned.
I never stop a movie early bc a movie needs to be concluded. I couldn't here. Horrible. I don't care how it may have ended or how it wrapped up well and help support this that or the other. 7/10 people won't make it to the end. I want that 70 minutes of my life back.
Frankly, it seems like it's made to be insufferable, on purpose. But it's insufferable, nevertheless. Its surrealistic parts are pretty crummy. Only when we get glimpses of what's really on Packer's head, or of actual humanity or rebellion, does the movie actually redeem itself a bit, more towards the end.
Es difícil sacarle provecho si no se tiene en cuenta lo que es el maximalismo y la literatura posmoderna de la que viene esta peli. Un Ulyses de Joyce posmoderno, se podría decir hasta que tiene ciertos guiños a esta obra. Cada diálogo crea un universo, nuevo, el final tiene todo el sentido del mundo cuando se analiza con detalle cada actitud y palabra del protagonista.