Zuzendari gutxik dute euren filmografian halako koherentziarik. Cronenbergen obra osoak, zentzu edo ardatz definitu bat du. Film filosofia oso baten sortzailea da: Haragi berria. Giza gorputzak eta makinek bat egiten duten eremu hori behin eta berriro aztertu du. Cronenbergek gorputza eta makinen arteko lotura fisikoa islatzen du kultura post-industrialak sortu duen gizartean, non multinazionalek bultzatutako goi teknologia eta makinek gizakiaren alderdi animaliarekin bat egiten dute, non drogek eta balizko errealitateek pertzepzio espazio berriak sortzen dituzte, non zoriona eta biolentzia ¨corpus¨ berean azalarazten dira... eremu horretan kokatzen dira Cronenbergen istorio deserosoak. Asko eta sakon idatzi da zuzendari kanadarraren inguruan. Eta idatzitakoari jaramon eginez gero, egungo zuzendari interesgarrienetako baten aurrean gaudela konturatu beharko ginateke. Askorentzat ordea, bigarren mailako sortzailea da, asko jota beldurrezko filmen arloan aintzat hartu beharreko norbait baino ez. Cronenbergen ¨bekatua¨ hain zuzen, bere ikuspegi berezia eta zine komertziala uztartzea izan da. Alkanfor usaineko zine zaleentzat ez da zuzendari serioa. Zine komertzialaren zaleentzat sortzaile alternatibo bat besterik ez da. Egun bi filmen proiektuarekin ari da lanean, Eastern Promises eta Maps to the Stars izenekoak. Aurten, Donostiako Beldurrezko Asteak, merezitako saila eskaintzen dio egile honen obrari. FILMAK 1. Scanners (1981) 2. Videodrome (1983) 3. The dead Zone ( 1983) 4. The Fly ( 1986) 5. Friday the 13th (1987) 6. Dead Ringers (1988) 7. Naked Lunch (1991) 8. M. Butterfly (1993) 9. Crash (1996) 10. ExistenZ (1999) 11. Camera ( 2000) 12. Spider (2002) 13. A history of Violence (2005) Cronenberg 1945. urtean jaio zen, Toronton. Aitak narrazio beltzak idazten zituen True Detective izeneko aldizkari batentzat. Gaztetan hasi zen idazten, baina berehala zaletasun hori baztertu eta zientziak ikasteari ekin zion. Entomologiak zoratu zuen orduan. Unibertsitatean ordea zientzia ikasketak espero baino aspergarriagoak suertatu zitzaizkion eta ikasketak bazterrean idatzi zituen. Garai horretan, literatura ingelesa ikasteari ekin zion eta idazten hasi zen berriro. Berak onartzen duen moduan, ez da sekula zinema zale amorratua izan. Baina zinemak istorioak kontatzeko aukera eskaintzen zion. David Secter-en Winter kept us warm filma ikusi zuenean zineak istorioak kontatzeko eskaintzen zituen aukera anitzez jabetu eta frogatzea erabaki zuen. Frogatzen darrai eta bidean film berezi ugari utzi digu. Azaroak 7-8 Cronenberg mintegia Artelekun.

FILMS 1. Scanners (1981) 2. Videodrome (1983) 3. The dead Zone ( 1983) 4. The Fly ( 1986) 5. Friday the 13th ( 1987) 6. Dead Ringers ( 1988) 7. Naked Lunch (1991) 8. M. Butterfly (1993) 9. Crash ( 1996) 10. ExistenZ ( 1999) 11. Camera ( 2000) 12. Spider (2002) 13. A histoy of Violence (2005) Nowadays. He is working on two projects, Eastern Promises and Maps to the Stars. This year, a section has been dedicated to him in the Horroro Film festival in Donostia. www.sansebastianhorrorfestival.com Cronenberg was born in Toronto in 1945. His father wrote crime stories in a magazine called True Detective. He started writing when he was young. But soon, quitted writing and started studying science. He was really fan of entomology. In college, his science classes were more boring than he thought and he gave up studying. Then, he took English literature classes and started writing again. As he recognized, he was never a real fan of cinema. However, films had a special ability to tell stories. When he watched David Secter’s film “Winter kept us warm”, he realized film offered many opportunities to tell stories. He keeps proving this and in the meantime, he left these films: There are few directors with such coherence in the career. Cronenber’s whole work has a definite axis. He is the creator of a film philosophy: New flesh. He has analyzed the space between human body and machines. Cronenberg reflects the physical link between the human body and the machine in a post-industrial society, where high technology and machines get together with the wild aspect of the human being, where drugs and reality create new perception spaces, where happiness and violence merge in the same “corpus”….Cronenberg’s stories are settled in this space. Much has been said about this Canadian director. And if we pay attention to this, we should realize that he is one of the actual interesting directors. For many, though, he is a creator of a lower level or one who only appears in terror film lists. Cronenberg’s sin was exactly finding the connection between his particular point of view and the commercial cinema. For those who like films with Alcanfor smell, he is not a serious director. For the fans of commercial films, he is just an alternative creator.