‘Humane’ review: Dir. Caitlin Cronenberg (2024)

The Cronenberg name is synonymous with strange movies. It began with David Cronenberg, and the mantle has so far been continued by his son, Brandon Cronenberg. Now however, a third Cronenberg – Caitlin Cronenberg – enters the fray with her directorial feature debut, Humane. 

Starring a cast of characters straight out of Succession and The Fall of the House of Usher, Humane finds a wealthy family tasked with an impossible decision. Unfolding in an undisclosed time, mankind is living in the wake of an environmental disaster. The source of the disaster is never fully revealed, but this is mere set-up to the core story. As a result of the cataclysmic event, the only way for the human race to sustain itself is by shedding 20% of its population. Humane takes place in a version of society where people can opt for voluntary euthanasia. After the patriarch of famed York family, Charles York (Peter Gallagher), decides to enlist, he throws a goodbye dinner party with his children. Charles’ plan goes awry however, and his offspring find themselves in a bitter battle for survival. 

Whereas her father and brother are content to play around with ooey, gooey, body horror, Caitlin Cronenberg ventures into psychological thriller territory. Humane poses a seemingly impossible question – could you sacrifice a loved one for the greater good? – and in doing so creates a film with plenty of debate material. The siblings consist of Ashley (Alanna Bale), Rachel (Emily Hampshire), Jared (Jay Baruchel), and Noah (Sebastian Chacon), a quartet who perfectly mirror the Usher clan. Each is a very different personality type with varying views about the euthanasia program. Add in a ton of the usual sibling drama and Humane becomes a powder keg of emotion to which a small spark unleashes brutal and bloody carnage. 

Cronenberg’s decision to move outside of the family trademark enables her to stand apart, and her story might just be the most accessible Cronenberg movie so far. This might sadden those expecting a mass of strangeness, but in truth, it is far more interesting that Caitlin Cronenberg has created art of another variety. Whilst not overtly strange like some in the family catalogue, Caitlin is a Cronenberg afterall and does sneak in some small elements that still feel on brand. Although the environmental disaster is never discussed, characters move around outside with UV umbrellas and thick coats; the car and house windows are also coated in protective material. These components are never directly addressed, but help infuse a little bit of weirdness to the proceedings. 

As Noah, Sebastian Chacon channels early Cronenberg heroes. An early scene in which he is clad in a trench coat with his hair wild, fully conforms to the James Woods aesthetic, subtly signalling Noah as a character to keep a close eye on. The whole ensemble is perfect, playing the fractured family group expertly. Their varied levels of greed and drive to survive are brilliantly realised and the four actors have excellent chemistry. As the York clan try to figure out their fate, there is a secondary plot involving Rachel’s daughter, Mia (Sirena Gulamgaus), and an odd man called Bob (Enrico Colantoni). These two converse about both the family dilemma, and the bigger issue affecting society. The conversations between the pair are fascinating and operate as a sit down between Gen Z and Boomers, fully highlighting opposing vantage points at their situation. 

Caitlin Cronenberg has a long background in photography and she utilises that skillset to ensure that Humane is a visually beautiful film. The York family come from money and the home setting does a fantastic job of communicating this wealth. There is an abundance of rooms in which the group can distance themselves from one another. Each room has its own style, but is linked through the use of wooden interior decor and blue and teal hues. From a semiotics point of view, this subtly reflects the siblings themselves; they might all be different, but there are ties that bind them. Caitlin Cronenberg also knows how to capture injury on screen to incur maximum reaction. Although not as bloody as other Cronenberg family films, when the violence does appear, it is razor sharp and savage. 

One of Humane’s biggest strengths is its humour. No matter how dark the scenario or sequence of events, there is always an element of comedy. Not quite enough to make Humane a laugh-out-loud horror-comedy, but plenty to push it into black comedy territory. The character of Bob is especially funny with Enrico Colantoni easily Humane’s MVP. His line delivery and energy is akin to Red Dwarf’s Kryton, and his inclusion is a tonal jar, at least initially. As Humane progresses, and the rest of its fun side begins to reveal itself, Bob suddenly makes complete sense. 

In moving away from expectations enforced upon her purely due to her familial bonds, Caitlin Cronenberg has forged her own path. Her brother Brandon has proved himself the obvious successor to the Cronenberg body horror throne, whereas Caitlin is striking out on her own. After many years in the background, it is fantastic to see her step out of the shadows, and Humane proves that she has certainly inherited the directing gene. A heady cocktail of humour, estrangement, violence, greed, and duplicity, Humane is a wicked feast that should be consumed at once. 

Humane opens in select US cinemas on Friday 26th April. Humane will stream on Shudder from Friday 26th July.