After developing an addiction to the substance he uses to kill bugs, an exterminator accidentally murders his wife and becomes involved in a secret government plot being orchestrated by giant bugs in a port town in North Africa.
After getting into a serious car accident, a TV director discovers an underground sub-culture of scarred, omnisexual car-crash victims who use car accidents and the raw sexual energy they produce to try to rejuvenate his sex life with his wife.
A man tries to uncover an unconventional psychologist's therapy techniques on his institutionalized wife, while a series of brutal attacks committed by a brood of mutant children coincides with the husband's investigation.
The residents of a suburban high-rise apartment building are being infected by a strain of parasites that turn them into mindless, sex-crazed fiends out to infect others by the slightest sexual contact.
Riding across Manhattan in a stretch limo in order to get a haircut, a 28-year-old billionaire asset manager's day devolves into an odyssey with a cast of characters that start to tear his world apart.
Allegra Geller, the leading game designer in the world, is testing her new virtual reality game, eXistenZ with a focus group. As they begin, she is attacked by a fanatic assassin employing a bizarre organic gun. She flees with a young marketing trainee, Ted Pikul, who is suddenly assigned as her bodyguard. Unfortunately, her pod, an organic gaming device that contains the only copy of the eXistenZ game program, is damaged. To inspect it, she talks Ted into accepting a gameport in his own body so he can play the game with her. The events leading up to this, and the resulting game lead the pair on a strange adventure where reality and their actions are impossible to determine from either their own or the game's perspective. Written by
Kenneth Chisholm <firstname.lastname@example.org>
The lubricant Allegra uses for Pikul's port is called XE-60, which is only one letter in the alphabet up from WD-40. See more »
The first time we see Ted Pikul at the trout farm, he labels an envelope with the letters LA. The L is clearly connected to the A. However in the next shot with the envelope on the conveyor belt the L and A are no longer connected. See more »
eXistenZ. Written like this. One word. Small 'E', capital 'X', capital 'Z'. 'eXistenZ'. It's new, it's from Antenna Research, and it's here... right now.
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David Cronenberg, much like colleague David Lynch, is an acquired taste. A director who plays with themes like reality, perversion, sex, insanity and death, is bound to get the most extreme reations from audiences. He proved this with films as The Fly, Naked Lunch, Crash and eXitenZ (capital X, capital Z) and more recently, Spider. It's best to see eXistenZ with a clear mind. Try not to read too much about the plot, or it'll be ruined for you. What I can tell you is that Cronenberg takes you on a trip down into the world of videogames that acts as a metaphor for any kind of escapist behaviour. Living out fantasies is something people always dream of, but how far can you go into it, before reality gets blurred and the fantasy takes over and turns into a nightmare? Those are the themes touched in eXistenZ, an exploration of identity, the human psyche, physical bodies being invaded by disease and most importantly, reality itself.
The story and directing are excellent. Cronenberg knows his trade very well and succesfully brings to life an artificial world, avoiding the usual pitfalls and clichés linked to stories such as this. The film shows some pretty disgusting stuff, but is unusually low-key in the gore department in comparison to Cronenbergs other work. The shock effects he plays on are never over the top and the plot progression is very intelligent and creative. It's not the most intellectual movie ever, but it will leave you thinking about it, wondering and pretty confused.
The acting gets two thumbs up as well. Both protagonists, Jennifer Jason Leigh and Jude Law, play their parts perfectly and cleverly portray their character's shifting moods and identities. The dialogue may seem a little stale and clinical at times, but that is part of the effect Cronenberg was going for, to create a disaffected and alien atmosphere that puts you quite at unease. Supporting actors as Ian Holm, Don McKellar and an especially creepy Willem Dafoe lift the movie even higher with their disturbingly familiar performances.
This movie takes some getting used to, but if you can appreciate the dark tone, blood-curdeling imagery and existentially warping story, you'll love it.
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