What I’m watching: Two ambitious arthouse features

Date: 2/7/2023

New to Theaters: “Infinity Pool”

Failed author James Foster and his affluent wife Em depart for a relaxing beach vacation. As James listlessly searches for his next writing inspiration, he befriends Gabby – an admitted fan who lures James into joining her posse of wealthy socialites. James soon realizes that all isn’t as it seems with Gabby in the surrealist sci-fi horror film “Infinity Pool.”

I assure you that my intentionally vague plot description for “Infinity Pool” does not come close to capturing the depravity and untamed horrors lurking within writer/director Brandon Cronenberg’s latest feature. Cronenberg, the son of famed body horror filmmaker David Cronenberg, is already proving to be a fascinating extension of his father’s nihilistic sensibilities. His 2020 debut, “Possessor,” was one of that year’s most overlooked features. Cronenberg skillfully evoked a transfixing atmosphere defined by alienation and anonymity in a feature that married vivid style with savvy meditations.

With “Infinity Pool,” Cronenberg dreams up another perverse nightmare as a shocking incident introduces James to a new world of hedonistic behaviors. The film’s provocative and kinetic vision endures some thematic inconsistencies, but Cronenberg’s technical verve still elicits a compelling descent into human degradation.

Cronenberg defines an evocative worldview from the film’s ominous opening frames. Like all renowned science-fiction works, “Infinity Pool” meshes ripped-from-reality developments with infusions of inventive flourishes. Cronenberg’s blending of sensibilities is especially felt in his expressive setting. The fictional seaside island of Latoka boasts picture-perfect vistas and high-class amenities within the confines of its opulent vacation resort. Outside the resort’s restrictive walls, Latoka and its voiceless population are juxtaposed as disenfranchised objects for the resort’s affluent clientele to torture in pursuit of their own pleasure.

As James immerses into Gabby and her peers’ nightly escapades, “Infinity Pool” opens the door for searing indictments on the callous behaviors perpetrated by social elites. Cronenberg knowingly understands the inherent farce of his characters’ actions, deploying a sardonic sense of humor to compliment the film’s oppressively dour worldview. He also seasons his concepts with a few fascinating wrinkles. Whether it is the resort’s morphing of respected cultural practices as dispensable tools for entertainment or the malicious hijinks committed by the central ensemble, “Infinity Pool” defines several intriguing avenues for fortifying its thesis.

Additionally, Cronenberg remains a distinctive visionary behind the camera. Similar to “Possessor,” “Infinity Pool” adopts a hypnotic visual presentation that merges vibrant collages with uncomfortably tight framing choices. Cronenberg and cinematographer Karim Hussain particularly excel at summoning the inescapable horrors lingering under the material’s surface. Several psychedelic sequences showcase a kaleidoscope of moody neon colors and disorienting edits, commodifying genuine unease as James aimlessly descends into the rabbit hole of startling behaviors. Of course, it would not be a Cronenberg production without disorienting imagery and buckets of bloodshed – elements that “Infinity Pool” provides with genuinely disturbing results. Cronenberg’s healthy dose of surrealism and composer Tim Hecker’s alluring score also help extenuate the film’s auteur-driven voice.

I will say – “Infinity Pool’s” pursuit of worthwhile meditations can be a hit-or-miss odyssey. Cronenberg suffers from the commonplace critique of favoring style over substance. While the director and his creative team define mesmerizing imagery to bolster his ideas, the film ultimately offers little nuance in its reflections on class disparity, ego and the inevitable destruction buried within a lifestyle of endlessly self-indulgent decisions. There are enough inspired blips for viewers to grasp some of the simmering ideas, but Cronenberg’s half-realized script is not nearly as astute as his creative filmmaking choices.

Thankfully, the well-realized performances in “Infinity Pool” always steer the film toward genuine truths. As the emotionally vacant protagonist James, Alexander Skarsgård forms into the film’s ever-beating heart. Skarsgård conveys a raw and destructive performance that showcases the gradual deterioration of his character. The intimate vulnerabilities and meaningful textures he imbues skillfully showcase James as a man stuck in an endless cycle of volatile decisions. Following her breakout performances in “X” and “Pearl,” Mia Goth continues to be a powerful force of nature onscreen. The actress’s unkempt magnetism and enigmatic delivery help elevate Grace into an irresistible scene-stealer throughout the film.

“Infinity Pool” will certainly not be for everyone. The opening night screening I went to featured seven walkouts as viewers were openly bewildered by some of the film’s abrasive decisions. However, fans of Cronenberg and other challenging horror/sci-fi works will likely latch onto “Infinity Pool’s” pungent dose of amorality.

Also New to Theaters: “When You Finish Saving the World”

A disconnected mother and son wrestle with their virtues in “When You Finish Saving the World.” As a long-awaited holdover from the Sundance 2022 slate, “World” marks the writing and directorial debut of “Social Network” star Jesse Eisenberg.

Eisenberg continues to be a fascinating Hollywood eccentric. His acidic wit and aloof personality accentuate him as a singular voice in the industry. Some may consider Eisenberg an endearing introvert for his distinctive quirks, while others often feel alienated by his smart-aleck behaviors.

Fittingly enough, Eisenberg’s first feature behind the camera is proving to be equally divisive for viewers. “When You Finish Saving the World” places two admittedly conceited characters under the microscope as they navigate personal parables centered on their disillusioned sense of self-worth. For what may seem like a tricky high-wire balancing act to attempt on paper, Eisenberg pulls it off in spades with a sharp and quietly introspective family dramedy.

Eisenberg’s cunning perspective is deeply felt in his screenplay. He draws remarkably lived-in characters with his first-time outing, coloring Evelyn and her son Ziggy as richly developed byproducts of their environment. Despite creating an at-risk shelter that leaves a lasting impact on its inhabitants, Evelyn lives day-to-day as a stuffy intellectual self-absorbed in her desire to be virtuous. Ziggy focuses solely on his career as an emerging streaming musician, so much so that he can’t seem to win the affection of a politically minded girl he’s infatuated with.

As Ziggy tries to imitate his crush’s interests and Evelyn gets involved with helping a bright student at her shelter, the characters form into expressive mirrors of each other. Ironically, the self-serving attitudes that ultimately divide Evelyn and her son are the forces that drive both characters in their respective pursuits.

Eisenberg skillfully articulates this dichotomy by defining his narrative within the culture of our socially conscious times –an era where most proudly wear their beliefs on their sleeve and preach them to anyone who will listen. For as much as we can care about essential causes, that pride can often transform many into sanctimonious voices propping up their ego instead of meaningful change. We all don our own altruistic shields of armor, yet what does it really mean to care about an issue and be a genuinely good person? It’s a dynamic that Eisenberg thoughtfully explores throughout and resonates with profound results.

Thankfully, “When You Finish Saving the World” is nowhere near as self-serious as its central characters. Eisenberg imbues biting humor that accentuates the growing divide facing Evelyn and Ziggy. The snide comments and snipping one-liners add levity and relatability to the all-too-familiar dynamic of a parent clashing with an angsty teenager. Stars Julianne Moore and Finn Wolfhard also elevate the characters. Both portray the exterior rigidness of Evelyn and Ziggy while still conveying the warmth and insecurities buried beneath their cocksure behaviors. The performers’ tactful touch ensures that the prickly characters always remain empathetic figures for viewers to rally behind.

Eisenberg’s direction is equally accomplished. What he and cinematographer Benjamin Loeb lack in showy stylistic infusions, the duo readily makes up for with expressive framing choices that heighten the material’s thematic undertones. Eisenberg displays poise and an authoritative command of his material throughout, never overworking his aesthetics in a way that would didactically spell out his intriguing intentions. Composer Emile Mosseri also enhances the material with his alluring score and original songs. His blend of synth and traditional sounds becomes a pitch-perfect fit for the material’s inherent quirks.

It may be deemed a slight character study to some, but “When You Finish Saving the World” generated an impact on me through its refreshingly sincere approach to coming-of-age sentiments.