He speakes to actual relationships between Burroughs and authors Jack Kerouac, Allen Ginsberg and Paul Bowles and how these inspired him for the film. Winner of Best Picture, Best Direction, and Best Screenplay at the 1992 Genie Awards and featuring an astonishing score by Howard Shore (Videodrome), Naked Lunch is provocative, transgressive, and surreal - a feast for the senses, where nothing is true and everything is permitted.

aspect ratio, use 10-bit video depth, High Dynamic Range (HDR), a Wide Colour Gamut (WCG) and is encoded using the HEVC (H. Digitally there are no compression issues, and the original source is clean and bright, with a light filmic grain that give life to the image which is simply wonderful. Thomas had recently produced an adaptation of Paul’s novel The Sheltering Sky, but he still allowed Cronenberg to treat these characters as harshly as the plot required.track, however, is an altogether different beast, it is immediately wider in both separation and depth, giving a real sense of space. It is possible to laugh at those 1960s busybodies who wanted the book banned for its drug content, or its homoerotic content, while still being uneasy about its eroticisation of “boys” and its treatment of North Africa as a sexual playground for Westerners.

Also included are design sketches for some of the sets, drawn by art director James McAteer under the supervision of production designer Carol Spider. I loved the neo-Noir aesthetic, the dry wit and black humour, the squishy bug effects and the deadpan performances, but ultimately, I felt no closer to understanding Naked Lunch as a result. Cronenberg used other works by Burroughs in addition to Naked Lunch to create the story for this film. rather cheekily inserted old school into supposed tv monitors, looking at Burroughs, Cronenberg and the film.Weller contacted Cronenberg about the project as he had an interest in the work of Burroughs as well. Though frequently acclaimed, I’ve always found Davis to be a fascinatingly unconventional movie star, an impression increased by her choice of material like this. Peter Weller, Judy Davis, Ian Holm, Julian Sands, Roy Scheider, Monique Mercure, Nicholas Campbell, Michael Zelniker, Robert A. Criterion's upcoming Blu-ray release allows one to experience the film at home in the best possible way. However, the better saturated reds and browns, both very prominent colors throughout the film, give the Criterion release a richer, at times appropriately edgier look.