Synopsis
How far can he go before he goes too far?
Riding across Manhattan in a stretch limo during a riot in order to get a haircut, a 28-year-old billionaire asset manager's life begins to crumble.
2012 Directed by David Cronenberg
Riding across Manhattan in a stretch limo during a riot in order to get a haircut, a 28-year-old billionaire asset manager's life begins to crumble.
Robert Pattinson Juliette Binoche Sarah Gadon Mathieu Amalric Jay Baruchel Kevin Durand K'Naan Emily Hampshire Samantha Morton Paul Giamatti Patricia McKenzie George Touliatos Abdul Ayoola Jadyn Wong David Schaap Philip Nozuka Goûchy Boy Željko Kecojević Bob Bainborough Warren Chow Ryan Kelly Nadeem Umar-Khitab John Batkis Saad Siddiqui Anna Hardwick Milton Barnes Albert Gomez Jonathan Seinen Inessa Frantowski
Matt Middleton Brad Milburn Patricia Larman Dan Wladyka Geoffrey Smith Doug Graham Robert E. Cross Jefferson Gonsalves
Jean-Paul Mugel Nicolas Becker Michael O'Farrell Wayne Griffin Julien Perez Rob Bertola Orest Sushko Pierre Bariaud
Jouror Productions France 2 Cinéma Téléfilm Canada Prospero Pictures Alfama Films Leopardo Filmes Talandracas Canal+ RTP RAI Kinologic Films France Télévisions OMDC
夢遊大都會, 堕乐迷城, 코스모폴리스, Космополис, Κοσμόπολις, Cosmópolis, קוסמופוליס, コズモポリス, Kosmopolis, Kosmopolise, เทพบุตรสยบเมืองคลั่ง, Космополіс, Tỷ Phú Gặp Nạn, 大都会, 墮樂迷城
Humanity and the world around us Monsters, aliens, sci-fi and the apocalypse Surreal and thought-provoking visions of life and death Thought-provoking sci-fi action and future technology Erotic relationships and desire Imaginative space odysseys and alien encounters Dreamlike, quirky, and surreal storytelling Show All…
Turned this off after 45 minutes to do something more enjoyable, like sit in a bathtub full of hard boiled shit.
Gosh, where do I begin.... Cosmopolis is a mess. A big, beautiful and very intelligent mess. It is a very difficult film to come to terms with, especially because Cronenberg seems intent on the viewer not liking it at all. He keeps you at a distance and gives you a cold and analytical commentary on the state of the world as we know it. And it works. Well, sort of.
Let's start with the obvious. Pattinson is fine. He has talent and proves himself to be a very capable actor. The character he plays is the owner of a big company that deals with the world of finance. What they do exactly is never clear, but they are definitely big…
— how old are you?
— 41.
— a prime number.
— but not an interesting one.
but n² + n + 41 is the most fecund prime-generating quadratic of its magnitude, and this is the most fecund film of its generation.
(‘i am your chief of theory.’)
it’s also my favourite batman movie.
‘you wanted me to be a helpless robot soldier, and all i could be was helpless.’
with every rewatch it gets closer to being my favourite of all.
Still in my mind one of Cronenberg's most underrated. Have always really loved the strange, haunting, artificial vibe that he managed to give this one, in part from borrowing some wonderfully stilted, pretentious writing stylization courtesy of DeLillo and of course the perfect casting of Pattinson who you can basically witness being inspired to pursue auteur-driven projects in real-time while shooting this. (Everyone should be thanking Cronenberg regularly for the last decade of great movies he's been in.) He is just so good at the dead-eyed, "foully and berserkly rich" pretty boy surface asked of him here; an indifferent specter navigating a world where "the logical extension of business is murder", amused by the chaos that circles his removed comfort…
There is no greater, shall we say, diagnosis, of the world today in movies than this.
An exhausting dialogue-driven film that's not only pretentious, but ends up going absolutely nowhere. Not for me, apparently. Pattinson was pretty good though.
21st century living - the whole of the world abstracted into singular screens and sounds, all while driving in a single line.
One of the only truly discomforting films I've ever seen, Cosmopolis forces itself upon you in such a way as to assert not only narrative but experiential dominance: this film is terrifying because it drops us into a world which is complete, sane, a world in which everything makes sense - but only because things are meaningless.
The inference of many that not only is Cosmopolis one of Cronenberg's weakest but also one of the weakest films ever made is absurd to me because every individual 'offputting' facet of the film (the unsubtle greenscreen, Pattinson's bizarre anti-realist performance) so clearly and directly contributes to the overall vision of the piece that there is no doubting the films' manifesto (for lack…
Space and time corrode while a man suicidally searches the meaning of his prostate and Yuan in a digitopia.