An affinity for the unsettling seemingly runs in the Cronenberg family, and Brandon Cronenberg’s latest work Infinity Pool certainly upholds this legacy. Failing novelist James Foster (Alexander Skarsgård) and his well-off wife Em (Cleopatra Coleman) are vacationing at a high-end resort located on a developing island country when they meet the mysterious Gabi (Mia Goth) and Alban Bauer (Jalil Lespert). The Bauers charm the Fosters into venturing outside of the resort grounds for some sightseeing in the countryside, off limits due to strict— and violent— government regulations. After a reckless mistake finds the couple in trouble with the law, they discover the depraved manner in which justice is served in this country.
Infinity Pool has a lot that it’s trying to say. Its themes include wealth disparity, sense of self, toxic masculinity, the effects of the tourism industry, and vengeance, just to name a few. With so many topics working in conversation with each other, it’s practically inevitable that some are going to be under explored but Infinity Pool seems to have a consistent problem with forgetting what it’s trying to say halfway through. The audience knows that James is deeply insecure and that it contributes to a lot of the unpredictable decisions he makes in the film, but it’s a barely fleshed out concept that really only exists to paint him as an erratic character. He’s the poster child for toxic masculinity, but it’s evident the filmmakers aren’t concerned with giving him any sort of character growth, so at the end of the film he’s just as insecure, only with some creepy new hobbies. This film is also practically begging for an opportunity to discuss sense of self, and what constitutes humanity, but these subjects are unfortunately never explored. To give credit where it’s due, the film’s main assertion— that the rich, if left unchecked, will abuse their wealth and privilege at the expense of anyone that gets in their way— is well articulated. However, the gravity of this message is often overshadowed by the film’s true primary aspiration: making the audience as uncomfortable as possible.
For some this is precisely what’s going to make Infinity Pool appealing, in fact it’s what most people tend to expect when going into a Cronenberg film. Irregular drumbeats and uncanny camera angles during seemingly innocuous scenes at the resort contribute to the initial aura of unease, alerting the audience that something sinister is lurking underneath these passive displays of affluence. The buildup of tension in this film is one of its definite strong points. It takes a little while for the action to begin but once things begin to unravel, they unravel quickly. James, enabled by his wife’s wealth, narrowly escapes a brutal demise. This unfamiliar sense of dominance causes him to make increasingly reckless decisions in order to continue chasing this apparent high. Gratuitous depictions of various sexual and violent indulgences follow, each more perverse than the last. These scenes, though not entirely pleasant to watch, contribute to another one of Infinity Pools’ strengths: its visuals. The surreal color palette and montage style editing, backed by a striking synth score, are a perfect representation of James’ state of mind as he succumbs to this world of hedonism and brutality he’s been introduced to. Is it uncomfortable to watch? Yes. Is it stylistically impressive? Also, yes. 
As for cast performances, Mia Goth is naturally the standout. Fresh off of Pearl fame, Goth continues her trend of playing banshee-esque characters. She has an uncanny ability to oscillate between unhinged and innocent, leaving the audience feeling unsure if they sympathize with her character or not. Alexander Skarsgård embodies an animalism similar to that of his character in The Northman. James is borderline unbearable, but it can’t be denied that Skarsgård does a convincing job portraying his volatile nature.
Infinity Pool is a difficult film to objectively rank. This style of cinema is inherently divisive; some people love it, and some people can’t stand it. Artistically, it’s a well-made film, but the plot is a major case of wasted potential. The premise could have made for an enthralling watch, but it’s all thrown out in favor of creating a film more concerned with aesthetic content than it is with story.
3/5 STARS