Da­vid Cro­nen­berg photographed

VOGUE (Italy) - - CULTURE - by Fran­ce­sco Car­roz­zi­ni

se­conds to ex­plo­de.) His dy­sto­pian vi­sion of the world has been un­re­mit­ting. The mo­ra­li­ty ta­le Vi­deo­dro­me (1983) was ahead of its t ime i n sen­sing the hid­den dan­gers when re­lian­ce on new tech­no­lo­gy be­co­mes an ob­ses­sion. In

Dead Rin­gers (1988) his twin gy­nae­co­lo­gists de­scend in­to drug ad­dic­tion and mad­ness. That he should tac­kle bo­th the ni­hi­li­sm of Wil l iam Bur­rou­ghs - in

Na­ked Lun­ch (1991) - and the apo­ca­lyp­tic pre­scien­ce of J.G. Bal lard - in Cra­sh (1996) - s hould co­me as no sur­pri­se.

Pho­to­gra­pher and film­ma­ker Fran­ce­sco Car­roz­zi­ni’s por­trait of Cro­nen­berg coin­ci­ded with the re­lea­se of his 20th f ilm, A Dan­ge­rous Me­thod (2011), whi­ch tac­kled the psy­choa­na­ly­sis of Freud and Jung.

It was an­noun­ced ear­lier this year that in Sep­tem­ber, at the Ve­ni­ce Film Fe­sti­val, Cro­nen­berg wil l be ho­nou­red with the Gol­den Lion for Li­fe­ti­me Achie­ve­ment i n f ilm. Reac­ting to news of t he ac­co­la­de Cro­nen­berg re­plied: “The Gol­den Lion of Ve­ni­ce. A lion that f lies on gol­den wings - that’s the es­sen­ce of art, isn’t it? The es­sen­ce of ci­ne­ma. It will be al­mo­st un­bea­ra­bly th­ril­ling to re­cei­ve a Gol­den Lion of my own.”

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