Now, this is what I call visionnary sci-fi – even though the bulk of the film is made up of scenes of people sitting and talking in a car. I mean, that’s the future: not spaceships, but the back of a stretch limousine filled with touch screens, where a twentysomething billionaire does business with various associates en route while, outside the limo’s bulletproof windows, the world is in chaos.
Even though it’s based on a 2003 Don DeLillo novel that predates the Occupy Wall Street movement, Cosmopolis captures the current zeitgeist, what with its protagonist being very much the 1% and the people protesting in the streets of New York he’s being driven through or directly assaulting him embodying the 99%.
Jam-packed with fascinating, brilliantly worded, often downright philosophical dialogue about contemporary economics and capitalism as well as life in the 21st century in general, Cosmopolis is also a darkly satirical, ultimately oddly moving character study of a not only functionnal but spectacularly successful sociopath. As such, it reminded me somewhat of American Psycho and, as hard as it may be to believe, Robert Pattinson‘s performance is nearly as riveting as Christian Bale’s was in that movie.
Inspired by James Joyce’s Ulysses, which itself borrowed elements from Homer’s Odyssey, DeLillo’s tale feature a succession of memorable figures whom Pattison’s character encounters during his journey, played in the film by an impressive cast that includes Sarah Gadon, Jay Baruchel, Juliette Binoche, Emily Hampshire, Samantha Morton, Mathieu Amalric, Gouchy Boy, Patricia McKensie, George Touliatos and Paul Giamatti – not to mention Kevin Durand, who’s simply awesome as Pattinson’s bodyguard.
As mentionned, the majority of the action takes place in a limo, yet director David Cronenberg and cinematographer Peter Suschitzky manage to make Cosmopolis into a consistently visually stimulating experience thanks to clever, inventive framing and shot composition…
And fear not, Cronenberg fans, there are still some startling bursts of sex and violence in his latest feature. All the same, it’s the words and the ideas that fill Cosmopolis that prove to be the most thrillingly provocative thing about it. I can’t begin to understand why the Cannes Film Festival jury ridiculously overlooked this truly amazing film.