David Cronenberg’s Crimes of the Future is set in a world in which the presence of pain in a movie or a novel would immediately mark it out as a period drama. It is also set in a world in which, to quote a worker from its shadowy National Organ Registry, being a performance artist is what “everybody” wants to do. The year is indeterminate, but something unspecified has accelerated human evolution to the point that pain and bodily infection, formerly unpleasant but entirely necessary harbingers of danger, have been more or less eradicated. As a result, injury has become a casual hobby, and those who have finessed it into an art form are rewarded with the greatest prize of all: celebrity and a
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