Far gorier than Cronenberg’s film, show-runner Alice Birch’s series doesn’t so much go for shock as it does awe
There is a good reason that over the course of David Cronenberg’s remarkable five-decade-plus career, only two filmmakers have ever attempted to remake one of the Canadian master’s films. Otherwise – barely discernibly Cronenbergian sequels toaside – Hollywood has been rightly leery of revisiting the director’s singular, squishy vision for fun or profit.
After making my way through four of the series’ six episodes, though, I think I have an answer – and it’s a surprisingly refreshing one.
, starts things slow – almost dangerously so, as the first episode feels far too wedded to what might be considered the “real” world – before she begins to dial up the operatic grotesqueness. Far gorier than Cronenberg’s film – which was, relatively speaking, one of the director’s more bloodless works – Birch’s series doesn’t so much go for shock as it does awe. If you want to tell a story focused on the most natural act of our existence , then you better not shy away from depicting that event from every possible angle.
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