The Death of David Cronenberg

The short film The Death of David Cronenberg, published on September 19, 2021, is only 56 seconds long.
But these 56 seconds are disturbing, touching and unforgettable.

Signed by Cronenberg himself together with his daughter, the photographer Caitlin Cronenberg, it is a stripped-down scene focused on confronting one’s own mortality.

The Death of David Cronenberg is, according to the director himself, “a little metaphorical piece about a person embracing his own death. I embrace it, partially, because I have no choice: this is man’s fate.”

A brief and essential vision that is also intimately personal.
The director’s last years, in fact, were marked by two difficult griefs: in 2020 he lost Denise Cronenberg, his beloved sister and costume designer in most of his films, and three years earlier his wife Carolyn Zeifman had also passed away.
“[She] died in that house, in a bed, and it felt when she died, partly, like I died, and I still feel that. That corpse is my wife to me. […] It is a film about love and the transient aspect of being human.”

This dimension of personal confrontation also emerges from the peculiar genesis of this short film.
It all started with when his daughter Caitlin Cronenberg proposed him to make a short film to be tokenized as NFT.
Thinking of a possible project, the director was reminded of an episode that happened to him on the set of the SLASHER series, produced by Shudder.
As Cronenberg himself recounted, when he was working on the fourth season of the series “there was a moment, when the special effects people said, we’ve got a surprise for you,” Cronenberg said. “I was introduced to my corpse, and it was terrific.”

So, thinking back to that silicone prosthetic body, Cronenberg contacted Toronto’s Black Spot FX in order to borrow it, because “I have unfinished business with this dead version of me.”

Once the body was brought home (well hidden, so as not to alert the neighbors!), it was placed in Caitlin’s childhood bed. Cronenberg wasn’t immediately sure what to do with it: “I left it up there for a couple days and I’d occasionally just go and check it out. It had an emotional resonance for me.”

Therefore, in a sense, the short film accurately reflects the actual situation of the author, who in those days was locked in the house with the simulacrum of a corpse with his own features. A kind of bizarre shock therapy, as Cronenberg jokingly confirms: “To be able to actually kiss your [dead self], there’s no question it’s fantastic. I think everyone should do this. Everyone should have a corpse made by Black Spot FX.”

David Cronenberg’s cinema, in its entirety, proposes a complex artistic-philosophical reflection that is both surreal and materialistic: for the Canadian director, the exploration of the human psyche necessarily passes through the body, whose incessant and unpredictable mutations are the expression of the quivers of identity.
It is therefore not surprising that even his meditation on death and impermanence is rendered, in this very brief but incisive vision, in dramatically concrete, physical terms.

And at the same time the film is about the paradox of not being able to imagine one’s own death: even if I try to imagine what my funeral will be like, I need a hypothetical observer, because no image can exist without a point of view.
Even the death of others is no less elusive, because it is not empirical but on the contrary translates into a failure of the senses. I can depict in my mind the presence of a person but not their disappearance, which is expressed only “by proxy”, that is, in a sensory absence (all those moments in which the presence of the deceased was normal).

Figurative art — pictorial, plastic, photographic — has always been a way to overcome this impasse. As Mirko Orlando writes,

Death can only exist within the open circuit of life […] because its experience does not concern the deceased (those who die) but the community of survivors who mourn (those who survive). Death is an image because it is first of all imagined, because it can only be encountered on the horizon of its reflection; on the threshold of the corpse, of the photochemical or pictorial traces, of the imprecise boundaries of memories or in the labyrinths of the oneiric dimension. Only there can I meet the dead, only in their double, because it is clear that nothing else is allowed to me as long as I am alive.

(M. Orlando, Ripartire dagli addii, 2010)

That is why Cronenberg’s operation is also a hymn to the power of cinema: every artistic work is a representation, and this mise-en-scène makes it possible to manifest the impossible. Thanks to cinema, Cronenberg even allows himself to visualize the most elusive and inconceivable double: his own corpse, his own future “not being there”.
Finally, and it’s an even more subversive idea, he accepts that corpse, kisses it, cuddles it.
In an era in which at the center of every concern is the healthy body, whose failures (old age, illness, death) are not admitted or tolerated, this image is particularly unsettling and — a rare thing in his filmography — truly sweet.

 

BB Contest Awards 4

Finally, here are the results of the fourth edition of the Bizzarro Bazar Contest!

All the participants showed that they have a truly out of the ordinary fantasy and, like the other years, I was amazed and moved by the care and commitment that emerge from the realization of these works.
[Small note: among the many works that were submitted, there are some that I reluctantly had to exclude as they did not follow the rules of the contest.]

Let’s start with our parade of oddities!

A nice little fetus in a jar welcomes us, in the naive painting by m.pitturessa.

(m.pitturessa: Instagram)

ElaGhi’s evocative poem is a melancholic twilight vision that the Scapigliati would have loved.

(ElaGhi: Instagram)

Andrea Carrozzo’s memento mori seems to echo some verses of E.A. Poe (A Dream Within A Dream), but here the sand that the skeletal hand cannot hold is actually the dust to which, according to the famous maxim, man is forced to return .

Matteo Ruggeri transformed me into a creature of Italian folklore.
“I imagined it — he wrote me — as a page extrapolated from some bestiary or cryptozoology book, containing a mythological version of yourself, illustrated and duly described in its physical features and, obviously, in its supernatural faculties.”

I love the detail that I have the superpower to remove a cyst with a simple touch, but then I’ll keep it!

Thanks to Greta Fantini, now even Joseph Merrick is among my most loyal readers.

(Greta Fantini: Instagram, sito web)

Stefano Luciani has designed a Bizzarro Bazar deck of cards… perfect for serving your opponent the “dead man’s hand” (A ♠ A ♣ 8 ♠ 8 ♣).

(Stefano Luciani: Facebook)

Inside her wunderkammer (also containing a skull that looks suspiciously familiar) Chiara Toniolo is testing the size of a glass bell to fit her head.

(Chiara Toniolo: Instagram, Facebook)

Valentina, aka Cher Macabre, wondered what a hypothetical Bizzarro Bazar freakshow might look like. “Well, to try to answer the question, I decided to modify a photo a dear friend took of me years ago using one of the skulls in my collection. In working on it, I was inspired by those period images that have been analyzed several times on the pages of the blog.”

(Cher Macabre: Instagram)

Er Cantastorie, who tells stories, curiosities and more or less forgotten characters from Rome, dedicated this delightful rhyming profile to me. It’s twenty years now since I have been adopted by this city, so I can only be delighted by this Roman dialect little poem.

(Er Cantastorie: Instagram, Facebook)

The delicate work of Pamela Annunziata is dedicated to one of the most famous and mysterious figures of all time: the beautiful face framed by this floral pattern is that of l’Inconnue de la Seine, a story I wrote about many years ago.

(Pamela Annunziata: Instagram, Facebook)

Amedeo Capelli has created a colorful automaton in papier-mâché and wood, showing a poor skeleton condemned to a neverending escape from a fox that seems to have come out of The Little Prince. But is it really an escape, or are they just playing together? You decide, in any case the scene is exquisitely… bizarre.

(Amedeo Capelli: Instagram, Facebook)

In Christian Galli’s fantastic illustration, my shrunken head has become part of the collection of wonders of a mutant scientist who closely resembles the protagonist of The Fly.

(Christian Galli: Instagram, Facebook)

Simona Naddeo turned me into a cross between a sideshow barker and a mephistophelian Sgt. Pepper. What more could you ask for?

(Simona Naddeo: Instagram)

In this work by Midnight Mary, the horror vacui materializes in a surprising catalog of objects that we have talked about in the two seasons of the web series, but not only. Impossible not to get lost trying to identify them all!

(Midnight Mary: Instagram)

Literally everything happens in Niccolò Ferrari’s drawing: gosh, I can’t even take my little skeleton in a stroller to the park, without all hell breaking loose.

Before moving on to the winning works, an honorable mention certainly goes to Elena “Psychonoir” Simoni.
I must confess that I was startled for a moment when I first saw this post-mortem portrait, so accurate. Even more so since Elena immediately offered to send it to me: giving a person a drawing of them in a coffin would be considered in bad taste — indeed, a really shocking gift! — in a normal context.

But with Bizzarro Bazar I tried to create a space in which normality is questioned, as well as taboos and the very concept of “good taste”. For this reason, Elena’s kind gift seemed to me a gesture that was anything but disrespectful, one that is possible only on the account of a profound affinity; the kind of complicity that I’ve felt with many of those who follow my work.
And then this small portrait, on closer inspection, has its own particular sweetness. Maybe I’ll keep it, as a memento mori, above my desk…

(Elena Simoni a.k.a. Psychonoir: Instagram, Facebook)

Terzo premio

When I kicked off this blog 12 years ago, I would have thought everything except that I would become the protagonist of a detective story.
Instead, according to Ingrid Atzei, “in Italian fiction, in my opinion, a protagonist with your interests and skills could be declined in many different ways. In fact, to date, we have a whole catalog of eccentric law enforcement consultants, but we still don’t have an expert on the uncanny and… it would work so well! “

Thus, in her short story La danza, she cast me in the shoes of an “expert in oddities” who’s called to assist Commissioner Stevelli in the investigation of a series of mysterious deaths that occurred in a remote Sardinian village, and which appear to be connected to ancestral pagan rites.

You can download the PDF of Ingrid Atzei’s story (in Italian) by clicking here.

Secondo premio

Andrè Elragno Santapaola has created a small anatomical text in the literal sense of the term, whose incredible pages are made of vascularized flesh, bones, tendons, adipose masses. A visceral book that is like a glimpse into the fragility of the body and its inconceivable ravines.
There are three quotes that punctuate this Cronenbergian anthology of flesh: a sentence of mine on the concept of autopsy, a splendid passage by Gottfried Benn, author of Morgue and other Poems, and finally the verse from Ecclesiastes from which the concept of vanitas was born.
“The individual pages — as Andrè explained — were sculpted with MonsterClay and subsequently copied in white epoxy resin and painted with acrylics and oil colors. The “leather” cover was created using various layers of latex, painted with very thin layers of diluted acrylic.”

(Andrè Elragno Santapaola: Instagram, Facebook)

Primo premio

Lola specializes in the creation of themed miniatures, inspired by music, literature and the world of cinema.
For Bizzarro Bazar she composed this delightful mini-wunderkammer that is a feast for the eyes: between mandrake illustrations, movie posters, ex voto, anatomical plates, copies of the Necronomicon and vintage photos, the level of detail is amazing.
Not only has Lola miniaturized my books, but just look at that vial that seems to contain one of the fetuses from His Anatomical Majesty… an entire world collected under a glass bell.
Everything is finally sealed with a quote from one of my favorite passages by Mandiargues… truly astonishing.

(Lola miniature: Instagram)

If you liked some work in particular, be sure to show your appreciation to the authors in the comment section.
In the coming weeks I will also post these beautiful works on social networks.
Thanks again to everyone for putting a smile on my face and awe in my heart, and I hope you enjoyed it too!