"New Gods: Yang Jian," like many big-budget fantasy series, feels more like a set-up for whatever comes after. Many small but enjoyable details, such as the creaking of a wooden airship's hull or the zippy give-and-take rhythm of a few early chase scenes, add up and suggest that the filmmakers know exactly what they're doing. I'll gladly watch whatever Light Chaser Animation does after "New Gods: Yang Jian," but I'm afraid the next "New Gods" sequel will be yet another gorgeous and over-explained advertisement for the next big thing.


"Infinity Pool" begins at an exclusive resort in a fictional country, with a setup reminiscent of "The White Lotus" meets body horror. Author James Foster (Alexander Skarsgard) is seeking inspiration, while his partner Em (Cleopatra Coleman) is attempting to support the writer's block that has resulted in no new books in six years. When a beautiful young woman named Gabi (Mia Goth, once again phenomenal) approaches James and tells him she's a fan, he's instantly captivated. He persuades Em to leave the resort grounds with Gabi and her partner Alban (Jalil Lespert), despite the fact that doing so is against the rules. After a night of drinking, James gets into an accident on his way home, killing a local man.


All four travelers are apprehended by foreboding authorities led by a perfectly refined Thomas Kretschmann as Thresh. He informs James that the country they are visiting has a very clear policy: murder must be avenged by the victim's son. This country, however, has a way out: a cloning process for the ultra-rich that will create another James to be murdered while the original one watches. It's a fantastic idea that both comments on how the ultra-rich can pay their way out of anything and wonders what it would do to a person if they witnessed their own murder.


It essentially removes any moral compass from James and the other wealthy guests at the resort. Why not steal, screw, and murder your way through a hedonistic lifestyle if there is no consequence? As Em watches in horror, Gabi basically drags James into a world of pure pleasure and violence, and Cronenberg appears to be implying that it is only our fear of repercussions that prevents us from indulging in every possible pain and pleasure. The travelers disguise themselves with local masks that resemble deformed faces, giving them even more anonymity. Then there's the ultimate nagging question: what if the clone was the original, and you're no longer even the first version of yourself? These people are referred to as zombies by some, and they share a similar amorality.


Despite the fact that this is not a typical zombie film. Cronenberg's surrealism grows as he takes bigger and bigger risks, clearly excited by the potential of his own premise. They are not all functional. I wish the film had a clearer point of view and ended with a more cohesive message. Even when "Infinity Pool" is just having fun with chaos, it's confidently made and compelling. It helps to have committed performers who are all in on Cronenberg's vision, especially Skarsgard's physically demanding performance and Goth's riveting performance. She has a scene on the hood of a car that rivals the ones she had in Ti West's films last year. She is in charge.


And I'm beginning to believe Brandon Cronenberg does as well. He continues to grow as a filmmaker by exploring new high-concept ways to question what we think we know about human decency. It must be exhausting to be constantly compared to his father, but David Cronenberg is one of my favorite filmmakers in the genre's history. As a result, it's a huge compliment to say that "Infinity Pool" works completely apart from the man who created it. Brandon has established himself as a captivating filmmaker on his own terms. He is not a clone.