We’re not going to lie, whether we like David Cronenberg’s recent movies, we were seriously missing the filmmaker of Videodrome and Crash. Pop open the champagne because he’s back in every shot of Cosmopolis. Even though he’s adapting someone else’s work, the Canadian filmmaker recognized his young/offsprings in the novel of DeLillo. The absurd and persistant odyssey of a young wolf in finance who parades collegues, mistresses and doctors in his high-tech limo. When he reaches his destination, he might be left with nothing (the Japanese currency threatens his waller, his wife is more and distant, it’s getting unbearable.) but the answer of the question that haunts him, without being able to articulate it: Can the one who possesses everything still desire anything else?
Cronenberg made sure that all his obsessions punctuate his route, whether they are intellectual (the search for ‘another’ reality) or carnal/physical (another scene that will make people talk, Packer learns that his prostate asymmetrical). Enthroned in the back seat of his limousine Robert Pattinson reveals a deepness that gets more & more fascinating as his character gets closer to hittng rock bottom/gets closer to the abyss. The fear that surrenders his face in the last moments doesnt belong only to this anti-hero that arrived at the point of no return, but it’s also the fear of an actor who tests his limits with an unsupected bravery. With a feverish and decadent ride in Hell, Cosmopolis proves that he’s not done testing them.