Crimes of the Future details the wanderings of Tripod (Mlodzik), sometime director of a dermatological clinic called the House of Skin, who is searching for his mentor, the mad dermatologist Antoine Rouge. Rouge has disappeared following a catastrophic plague resulting from cosmetic products, which has killed the entire population of sexually mature women. Tripod joins a succession of organisations including Metaphysical Import-Export and the Oceanic Podiatry Group, and meets various individuals and groups of men who are trying to adjust themselves to a defeminized world. One man parodies childbirth by continually growing new organs which are removed from his body. Eventually Tripod comes upon a group of paedophiles which is holding a 5 year-old girl, and they urge him to mate with her. He senses the presence of Antoine Rouge. Written by
"Crimes of the Future" is nothing less than Cronenberg's "Eraserhead". Its flawless aesthetic approach is so superiorly arty and relevant that all of Cronenberg's following work appears bland by comparison --a bit like what happened with David Lynch after he created "Eraserhead". The great originality of CRIMES as a work of contemporary film art resides in its twin-leveled disruptiveness --both the storyline and the aesthetic choices that trigger it appear weakly structured. As a result, the film wanders, just like the poetic mind in action. We are in poetry territory here, not in the realm of manipulative ideological discourse like what happens in "Dead Ringers", for example. "Crimes of the Future" will stand as one of the first true works of Canadian Film Art.
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