Hell hath no fury like an independent filmmaker scorned. Hollywood has always demonstrated a preference towards certain themes, and none are more adored than stories about the film industry itself. If you take any random assortment of around a dozen films, it is likely at least one of them will be situated in an arts environment, regardless of whether they take a more positive or negative view of the industry. The majority tend to showcase the glamour and lustre of the industry or highlight the challenges that those who want to enter into it may face. However, there are occasionally works that take an entirely cynical view, one that doesn’t only intend to lambast the industry for its exclusivity, but annihilate the mythology of Hollywood, exposing its hypocrisy, and hatefulness towards anyone who deviates from the preconceived categories to which one is supposed to adhere and general incredulity towards any form of decency or decorum, at least based on what outsiders may expect from such an environment. David Cronenberg has been in the industry for over half a century now and has always embodied the spirit of rebellion when it comes to the films that he has made throughout his lengthy but fascinating career. Maps to the Stars is one of his most vitriolic films, a darkly comical satire about the bleak realities faced by those who find themselves immersed in the culture of Hollywood, encapsulated by the quest for perpetual youth, constant fame and the undying devotions of audiences that fawn over their every movement – and this lays the foundation for a bitterly caustic and darkly comedic glimpse into the world of fame, as told by someone who has consistently resisted the deceptive charms of an industry that is as heartless as it is perilous for any impressionable young soul that views worldwide recognition as being the ultimate achievement.

Cronenberg occupies a strange place in the cinematic culture – he is a revered and admired director who has worked with many of the greatest actors of their generation and directed countless masterpieces that have allowed him to be one of the most celebrated filmmakers of his generation. However, he has never truly broken through into the Hollywood culture in the way that some may expect from someone of his stature – he has made his fair share of major films, but he remains an independent filmmaker at heart, and his work reflects a deep sense of disdain for the mainstream, enough to give his career a very peculiar sheen that demonstrates his fervent resistance to being seen as part of the institution. Maps to the Stars proves his contempt for the excess of the film industry, functioning as his steadfast manifesto against the world of celebrity and the circumstances surrounding fame, something that he does not support. Being at the intersection between celebrated auteur and subversive, experimental filmmaker has allowed Cronenberg the opportunity to assert his distinct authorial voice on a film that feels far more nuanced and layered than nearly any film industry satire we’ve encountered in the past few decades. The film consists of intersecting stories between half a dozen characters living and working in Los Angeles, each one of them being compelled to seek fame and fortune, believing it to be the only way someone can feel any kind of joy or gain a sense of fulfilment. It’s a harrowing voyage into the heart of the film industry, made by someone whose hatred for the culture represented here immediately situates this far from the more playful attempts to show that Hollywood is not nearly as enticing as it may seem to outsiders, but rather that it can be responsible for some truly bleak circumstances, regardless of one’s standing in the industry.

There have been several comparisons made between Maps to the Stars and films like Sunset Boulevard and All About Eve, and while those are unimpeachable classics that can never be replicated, this film does feel like their spiritual successor, particularly in terms of how Cronenberg handles the darker side of the concept of fame. They are all haunting fables on the pratfalls of fame, and how celebrity culture can be a destructive force if someone allows it to spiral out of control, which is far too easy for someone in their position since there is a temptation to seek that elusive but addictive sense of public admiration and social prestige. Throughout this film, we are presented with several different individuals, each one having a different career path within the broader category of Hollywood life, ranging from a world-famous child star and a faded actress trying to recapture her youth, to those in the service industry that exist solely to support the more famous members of the community, while simultaneously chasing every opportunity to become famous in their own right. Maps to the Stars is focused on dissecting the culture of the entertainment industry in a way that demonstrates that in this world, no one is immune to these temptations and that everyone can become enraptured in the search for fame. The concept of a hero or villain does not exist in Hollywood – everyone simply occupies different spaces in the proverbial spectrum of greed and self-centred admiration. Essentially, once you have entered the industry (regardless of how you became a part of it in terms of specific vocation), it is almost impossible to escape – and Cronenberg does remarkably well in showing the darkness that surrounds those within the celebrity world, watching with perverse pleasure as they struggle to find a way out, realizing that it is far more difficult to escape the industry than it ever was to become a part of this world.

While he may demonstrate a significant degree of disdain for the more manipulative side of the industry, Cronenberg has rarely struggled when it comes to attracting a high calibre of talent to populate his films, which is likely a byproduct of his status as one of the most interesting directors of his generation. Actors tend to enjoy the challenges that come with one of his productions, since he is a filmmaker who never offers roles that are not substantial or worth the actor’s time, meaning that, regardless of their stature in the industry, whoever is cast will be given the chance to do exceptional work. Maps to the Stars is a film that depends on the strength of the actors and their performances to make an impact, and we see a fascinating cast doing exceptional and compelling work that pushes their boundaries and forces them to do radically different work than nearly anything we’ve seen from them to date. Julianne Moore is probably the most memorable aspect of the film, with her ability to set aside her statuesque elegance to play the part of the desperate, crude Havana Segrand becoming one of her most unique performances, one that may not be subtle but is remarkably effective in the context of the film. Robert Pattinson (who had yet to attain the status of one of the brightest young actors working in film when this film was made) is terrific as the only seemingly ordinary character in the film, while Evan Bird has his breakthrough as the despicable child star who represents the corruption of the industry. Maps to the Stars even manages to give limited actors like Mia Wasikowska and John Cusack the chance to play fascinating characters, especially since most of their work has been done through being typecast in roles that are not all that interesting. A good Hollywood satire can only be as good as the actors it employs to bring its concepts to life, and Maps to the Stars certainly achieves this in abundance through this tremendous ensemble of unique characters.

Maps to the Stars is a true oddity of a film, a daring and provocative satire on Hollywood that shows very little reverence towards an industry that has destroyed as many souls as it has created careers. Perhaps it seems vaguely hypocritical for this film to be made by a director of as immense stature as Cronenberg (especially since this seemed to be his swan song, as rumours were swirling that he was aiming to retire after making this film, which was only proven to be false this year), but he uses his knowledge of the industry garnered after half a century in cinema to curate a series of terrifying episodic moments in the lives of these characters, each one drawn into the alluring, manipulative world that supposedly promises fame and fortune, just at the cost of losing one’s humanity in favour of becoming part of this world. It’s a harrowing depiction of the hypocrisy of Hollywood, the terrors of fame and the inevitability of losing your sanity if you spend too much time surrounded by armies of people who are all searching for the slightest sliver of fame to feel a sense of belonging. Satire does not get darker or more biting than it is here, and Cronenberg ensures that every frame of Maps to the Stars reflects his keen observations around the subject of fame, delivered in this darkly comical but deeply disturbing manifesto on the rise and fall of a few individuals that genuinely believed that what they were doing was worth it, to the point where selling your soul for fifteen minutes of fame didn’t only seem like a good idea, but as a terrific bargain all on its own – and if that isn’t a terrifying concept that changes the way we view the industry, then nothing else can unsettle us than this revealing and sardonic account of the realities that lurk behind the curtain of glamour that is Hollywood.