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IMDbPro

Crimes of the Future

  • 1970
  • Not Rated
  • 1h 3min
VALUTAZIONE IMDb
4,7/10
3431
LA TUA VALUTAZIONE
Crimes of the Future (1970)
SatiraCommediaFantascienza

Tripod, a volte direttore di una clinica dermatologica chiamata House of Skin, sta cercando il suo mentore, il dermatologo pazzo Antoine Rouge.Tripod, a volte direttore di una clinica dermatologica chiamata House of Skin, sta cercando il suo mentore, il dermatologo pazzo Antoine Rouge.Tripod, a volte direttore di una clinica dermatologica chiamata House of Skin, sta cercando il suo mentore, il dermatologo pazzo Antoine Rouge.

  • Regia
    • David Cronenberg
  • Sceneggiatura
    • David Cronenberg
  • Star
    • Ronald Mlodzik
    • Jon Lidolt
    • Tania Zolty
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    4,7/10
    3431
    LA TUA VALUTAZIONE
    • Regia
      • David Cronenberg
    • Sceneggiatura
      • David Cronenberg
    • Star
      • Ronald Mlodzik
      • Jon Lidolt
      • Tania Zolty
    • 25Recensioni degli utenti
    • 38Recensioni della critica
    • 58Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
  • Vedi le informazioni sulla produzione su IMDbPro
  • Foto44

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    Interpreti principali23

    Modifica
    Ronald Mlodzik
    Ronald Mlodzik
    • Adrian Tripod
    Jon Lidolt
    Tania Zolty
    Paul Mulholland
    Jack Messinger
    Iain Ewing
    William Haslam
    Raymond Woodley
      Stefan Czernecki
      Rafe Macpherson
      Willem Poolman
      Don Owen
      Udo Kasemets
      Bruce Martin
      Brian Linehan
      Leland Richard
      Stephen Zeifman
      Norman Snider
      • Regia
        • David Cronenberg
      • Sceneggiatura
        • David Cronenberg
      • Tutti gli interpreti e le troupe
      • Produzione, botteghino e altro su IMDbPro

      Recensioni degli utenti25

      4,73.4K
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      Recensioni in evidenza

      8Captain_Couth

      Another early film from David Cronenberg.

      Crimes of the Future (1970) was made a year after Stereo and with a larger budget, Cronenberg came out with an even more bizarre film based around sex and human nature. In this film he takes his cold, clinical and dark view of the world a step further. A world filled with emotionless people who are devoid of individual thought and repressed beyond imagination. A doctor uses this to his advantage whilst sexually experimenting amongst patients within a mental hospital.

      This film is kind of hard to describe without giving away to much. But I found it to be comparable (somewhat) to THX 1138. In many ways you can compare the two. Cronenberg shot this faux documentary style accompanied by narration. The film reminded me of those videos that psychiatrists use when documenting extraordinary cases of psychosis and what not. Maybe that's what he trying to accomplish (if he was he succeeded). However some of the scenes in this movie are not for all viewers (those easily offended will be turned off by the subject matter).

      All in all it's a more polished film than Stereo and his film-making had matured. Cronenberg also experiments more with sound and editing. The technique he uses gives the viewers the impression that they're under a state of semi-hypnosis (I don't know if they'll appreciate that or not). A interesting experimental film.

      For fans only. Recommended.
      elliottdixon72

      Amazing!!!

      Like Apocalypse Now, The Shining, (Fassbinder's) Satan's Brew, and others, this movie makes you feel like you're watching the state of insanity as rebellion. The protagonist in Crimes of the Future, Adrian Tripod is free from all judgment. It is exhilarating and hilarious to watch him respond to his environment. Cronenberg's writing of the voice-over narration is frightfully intelligent and ahead of its time. I believe this short film will gain popularity exponentially in the next ten years with its inclusion on the Fast Company DVD. Ronald Mlodzik's performance is overwhelmingly detailed and his delivery of the narration (if it is him) has more confidence, if not arrogance than anything I've experienced in cinema. Perhaps Alexandra Stewart in Chris Marker's San Soleil can rival, or Malcolm McDowell in A Clockwork Orange. You must see this!!!
      7fred-83

      hypnotic

      This is an unusual filmic experience, hypnotic, trance-like, not totally rewarding but still fascinating. On the soundtrack you can only hear the narrator, strange noises (sounds of sea-creatures) and for some stretches, total silence. Signs of Cronenbergs weird imagination is present throughout the narrative. I especially liked the quite extraordinary concept of "creative cancer".The sterile, modernistic architecture lends the movie a strangely desolate, surreal tone and sets, at least my, imagination in motion. It´s like stepping into another reality, something Cronenberg has continued to achieve in the best of his subsequent movies. It´s an experimental film, but it succeeds in drawing the viewer into the picture, not solely with its narrative, but with its images and composition. In fact, it´s not unlike what Kubrick did, in much larger scope of course, with 2001. Recommended for Cronenberg fans, and those of you who aren´t afraid of something different.
      8blakestachel

      Cronenberg at his most experimental

      A grotesque oddity, Cronenberg's 2nd feature, Crimes of the Future, evokes the same sense of transcendent magnetism as films like Eraserhead and 2001. The story unfolds like a series of connected dreams, ones which emerge from the edge of consciousness.

      The narrative plottings and concerns are not unlike those that exist in other Cronenberg films. However, their unfolding feels so much looser and uninhibited, creating a similar sensation as removing rocks from your shoes, causing it to almost float along. I love this type of avant-garde cinema that feels like it can do anything at any point in time.

      Beauty products designed by the deranged and ideological dermatologist Anton Rouge have lead to human mutation on such a cataclysmic scale that the entire population of sexually mature women has been eradicated. Rouge has since disappeared or perhaps died, and the film follows a languid disciple of his, Adrian Tripod.

      Tripod is long and gaunt. A vampiric black coat coiled tightly around him creates a stark counterpoint to his pasty, white skin. It's his internal musings that serve as the only spoken words in the film. Shot without synchronized sound, Cronenberg extracts all dialogue while focusing exclusively on a shearing combination of indefinable noises which work somewhat like a score.

      Sterile, geometric spaces encompass the characters' surroundings. They feature rational modern architecture full of straight lines and intersecting right angles. These austere and formal geometric patterns are not only inherent in the architecture but also constructed as obscure props, most noticeably during the film's introduction of its pedophilic cult where a dark void-like space is illuminated only from large, glowing monolithic rectangles.

      Cronenberg creates a strong counterpoint between the composed and simplistic architectural geometry and the abstraction of mutation and intellectual perversion. In doing so, he sets up an evolutionary hierarchy where humanity, as we know it, sits in the middle between individuals who are undergoing a "psychic relapse" due to "intense genetic pressure" (basically these people are losing evolved human attributes like feet and have begun growing fins and flippers instead) and amoral, paraphilic entities who have moved beyond human emotions and ethics.

      This is Cronenberg at his most experimental. Crimes of the Future certainly is not an easy watch, but I found it to be engaging. I see the film's intentional opaqueness as one of its strongest attributes, because it becomes so otherworldly. That being said, I can also understand how it could be perceived as a frustrating and unapproachable method of filmmaking.
      5lost-in-limbo

      The ticking mind of Cronenberg.

      Aaron Tripod is studying a patient at a clinic that can emit a chocolate like substance from his body, which people become compelled to eat. This occurred after nearly all the woman on earth died from a poisonous cosmetic. After the patient disappears Aaron moves onto another clinic where there are more people of that type being used by doctor for his own purposes and there's a secret lurking in the facility that can change the fate of this outcome.

      Just like the film before this: "Stereo", Cronenberg comes up with another experimental, art-film that combines his interest in literature and science. Especially that of the human body and sexual chemistry, where science tries to manipulate the genetic makeup somehow. On this particular film the style and story's context are very similar to "Stereo" with most of the cast and crew returning for this project. I actually found this one to be slightly better and one incredibly bizarre trip compared to his previous film. But for this experience you have to be in the right frame of mind that's for sure, as this one too goes for an hour, but there are many padded scenes with many slow stretches. But for me it didn't seem to drag that much. Again there's no dialogues, but there are some odd sound effects worked into the picture that sound like something out of nature (bird cries, ocean waves and even a sound like someone is blowing bubbles). This gave the film such a real anxiety, but at times it did get a bit overbearing. Also you got a fitting narration that's gives out an mildly stimulating outlook and provides at times a coherent plot device. This could be because a plethora of characters spring out and then suddenly disappear which makes the story rather uneven, as it changes course quite a bit. The static voice over is not as frequent here, but it's the actions and faces that mostly tell the story. Now the look of the film is where Cronenberg was at his best here and the budget was a tad higher for this outing, since now this one was shot in colour and production was of high quality with what he had to work with. Great use of composition and lighting, while the strong shapes in the background features added a huge imprint. Plus there was always little things going in the foreground that you catch a glimpse of. The film sustains a bare atmosphere, which has a emotionless, post-apocalyptic feel where everything is beyond redemption. The offbeat environment is filled with many surprises and the hypnotic images just flood the screen. The haunting conclusion stages one that's hard to forget. The camera-work here gives the film a third perspective and builds on the groundwork very well. Ronald Mlodzik's performance as Aaron Tripod is rather good and his expresses his actions in a clear and concise way. Cronenberg has come up with an far more accomplished effort on this occasion.

      This excursion I found strangely fascinating as you can easily see this as a stepping stool for Cronenberg to iron out those creases for future projects. He's obsession on the evolutionary process where sex and disease is controlled by science makes his work so unique. Again just like what I said on "Stereo", if you're looking for some entertainment, look elsewhere. But if you want to see the where the clinical influence and cold style for his most assessable work came from, there's no better place to start than here.

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      Trama

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      • Quiz
        The film was shot without any sound recording because the 35mm camera made too much noise. The first-person voice-over and a few strange sound effects were added later.
      • Citazioni

        Adrian Tripod: When Antoine Rouge disappeared, soon after he had himself contracted the disease which bears his name, we believe that he had preferred to die alone, in an exile only partially self-willed. Still, he on one occasion remarked that Rouge's malady could not possibly be fatal to Rouge, though it had already killed hundreds of thousands of women. And it is true that his death was confirmed only by certain authorities who had long wished for his death. Yet the Rouge, as my mentor and I were preternaturally close, and I feel sure that he no longer exists...

      • Connessioni
        Featured in On Screen!: Shivers (2008)

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      Dettagli

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      • Data di uscita
        • 10 agosto 1984 (Stati Uniti)
      • Paese di origine
        • Canada
      • Lingua
        • Inglese
      • Celebre anche come
        • Преступления будущего
      • Luoghi delle riprese
        • Massey College, University of Toronto, Toronto, Ontario, Canada(interiors and exteriors at the beginning)
      • Azienda produttrice
        • Emergent Films Ltd.
      • Vedi altri crediti dell’azienda su IMDbPro

      Botteghino

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      • Budget
        • 20.000 USD (previsto)
      Vedi le informazioni dettagliate del botteghino su IMDbPro

      Specifiche tecniche

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      • Tempo di esecuzione
        • 1h 3min(63 min)
      • Mix di suoni
        • Mono
      • Proporzioni
        • 1.66 : 1

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