In David Cronenberg's awesome
Cosmopolis (France/Canada, 2012), based on the homonymous novel by Don DeLillo, young billionaire Eric Packer (Robert Pattison) slowly cruises New York in his white limo, installed in a cushy leather throne with incrusted screens.
He feels ... nothing; he essentially sucks up the world into his own inertia. Outside his moving silent chamber, it's total chaos, with activists spraying rats in posh restaurants and a tense threat of imminent apocalypse.
This is the world morphing into, or being gobbled up by, dematerialized ultra-capitalism; a world in a state of crisis, driven by violence, and with violence as the only possible horizon. As a libidinous art dealer (Juliette Binoche) tells Packer: "It's cyber-capital that creates the future."
A walk in the dead of a New York night to Ground Zero offers extra context to
Cosmopolis. This is where our post-apocalyptic modernity began, 11 years go - and where cyber-capital still creates at least some of the future. As
Cosmopolis shows, turbo-capitalism is not only in crisis; turbo-capitalism, in shorthand, IS crisis.
Ground Zero remains an eerie sight deep in the dead of night. There's the memorial. There's the new unfinished glass tower. And there remain holes the size of Ground Zero all over the official narrative.