Crimes of the Future

Canada 1970
produced by
David Cronenberg for Emergent Films
directed by David Cronenberg
starring Ronald Mlodzik, Jon Lidolt, Tania Zolty, Jack Messinger, Paul Mulholland, William Haslam, Willem Poolman, Stefen Czernecki, Raymond Woodley, Kaspars Dzeguze, Iain Ewing, Brian Linehan, Leland Richard, Norman Snider, Stephen Zeifman, William Wine, Bruce Martin, Don Owen, Udo Kasemets, Sheldon Cohen, George Gibbins, Rafe Macpherson, Aus von Blicke
written by David Cronenberg

review by
Mike Haberfelner

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After the disappearance of Doctor Antoine Rouge, Adrian Tripod (Ronald Mlodzik) has taken over the House of Skin, a cosmetics research lab that also houses human test persons - but also the breeding ground for what came to be known as Rouge's Malady, a virus that has killed most post-pubescent women and now also attacks the male population ... and yet the disease is almost non-traceable before death and only signified by painted toenails. And there's another thing about Rouge's Malady: The foam its victims are emmitting after death tastes just delicious and seems to be addictive.

After the last test person of the House of Skin has died, Tripod decides to go to the hospital for venereal diseases to work undercover and try and solve the secret of the epidemic. Eventually, his research leads him to a therapeutic facility. It is here that he meets Tiomkin, leader of a group of paedophiles who believe the only cure for Rouge's Malady is to impregnate a pre-pubescent girl who has not yet been exposed to nail-polish - but when they have actually kidnapped a girl, none of them (including Tripod) can bring himself to rape her ...

A weird, not always accessible film: It is shot without any on-screen sound but strange soundscapes, and an off-screen narrator seems to guide us through the story, yet what he says is not always (or hardly ever) in synch witht he onscreen goings-on - a similar technique to that one Cronenberg also used on his debut feature Stereo. Yet, if you can accept that, the film has a strangely hypnotic feel to it, thanks to Cronenberg's almost clinical direction that makes perfect use of the 1960's style futuristic architecture at hand, presents the audience with weirdness followed by oddness, but all presented by way of satire, and that tells a really strange story in an even more unusual way.

As I said, the film is not necessarily totally accessible - but pretty good nonetheless.

review © by Mike Haberfelner

 

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