Post by MacReadyOrNot on Jan 30, 2019 21:02:36 GMT
Crimes of the Future is essentially Stereo: Part II. Like its predecessor, it is filmed without sound on a low budget against the backdrop of modernist buildings in Toronto. It too is an art-film that pushes esoteric themes without delivering much in the way of conventional drama or entertainment. It is satirical, but also dry as a doctor’s lecture—so dry as to extinguish much of the obvious humour present in its storytelling. It is the second of David Cronenberg’s introductory experiments in narrative filmmaking, another early stage in the germination of a brilliant, deviant artistic mind.
Crimes of the Future is set in a fictional 1997 where women have largely died off due to a disease known as “Rouge’s Malady;” the disease is spread through the use of cosmetic products. The central figure and narrator is Adrian Tripod (Ron Mldozik), who works at the House of Skin, a residential clinic meant for people convalescing from Rouge’s Malady. The man who pioneered the clinic and discovered the malady, Antoine Rouge, has disappeared and the film chronicles Adrian’s search for him through this bizarre, womanless world.
Crimes of the Future is set in a fictional 1997 where women have largely died off due to a disease known as “Rouge’s Malady;” the disease is spread through the use of cosmetic products. The central figure and narrator is Adrian Tripod (Ron Mldozik), who works at the House of Skin, a residential clinic meant for people convalescing from Rouge’s Malady. The man who pioneered the clinic and discovered the malady, Antoine Rouge, has disappeared and the film chronicles Adrian’s search for him through this bizarre, womanless world.
Source: 3brothersfilm.com/blog/2018/3/9/david-cronenberg-crimes-of-the-future-1970