HOS FINAL Jan 2018 V 2

82.4 MB·English

by  Dave K

Stereo
Crimes of the Future
‘Shivers
Rabid
Fest Company
“The Brood
Scanners
Videodrome
‘The Dead Zone
The Fly
Dead Ringers
Naked Luneh
M. Butterfly
Crash
existenzZ
Spider
A History of Violence
Eastern Promises
[ADangerous Method
Cosmopotis
Maps tothe Stars

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MY FLESH

introduction to the HOUSE OF SKIN
by Dave K. a.k.a. A Fiend On Film

In 2017, famed horror director George Romero passed away at the age of 77.
Almost immediately, there was a ton of remembrances and eulogies. | seem to
notice any wail until sumebody they odie dies before they tall obout how
important they wero to their lives. When planning my next film fanzine project |
thought for @ bit on who can we discuss and talk about now, in print, before thot
parson dias. | mean, eulogies are fine, but for the mos! port they truly only mean
something when the subject might actually get to heor It | vemember years ogo
‘when writer Harlan Ellisan was muking © case to give « Grondimoster Aword for
scionce fiction writing to @ ravored writer while he was stil ving. Afterwards, he
tated, what is the point? That has always stuck with me.

David Cronenberg hos always been a favorite diector of mice. Through his
fils work and in interviews, bu: how olwoys bees interesting. While Id like meat
of the rovored horror/gente directors from tho past 50 years or s0, Crorerberg
for me hos been the most consistert throughout his entre career. While even
teday | have not seen every single film he has made (yet) | have navar heard of
any being a complete disaster. That connet be said af ather divactors of genre
file. As an exumple, Irecently seen A Dangerous Method (2011). Defiitely not
his best film, but it was better than other directors of his era later film work

HOUSE OF SKIN is ¢ reference to his 2nd film called Crimes of the Futur
from 1970. (Not a “great” lila when compared ta athes director's saphomore
elforts, but being foie, i wos on experimental/ant fil) Crimes would xet ap many
of the diroctor's oddities in futuro films. HOUSE OF SKIN just soomed to be apt
tile due to Cronenberg's association with the Body Horror sub genre. | asked my
tusval gang of writers if they wished to tackle this subject, a few responded with
some great witten pieces {93 you will about to be reading). I had the luck to
rivet some more Cronenberg fons and they answered the colli kind

So what you will bs reading and seeing in this ons shot called HOUSE OF
SKIN, is a celabration of ore director's vision. | personclly consider him to be one
af the most important file directors to ever get behind the comer. The lilns he
hos produced oll have touches that can be culled nique te his outlook. Hope
fully, wo will bo able to got one of those into his hands and he can soe the edmi
ration now from a few of us

Dave K aka A Fiend On Film

Favorite Cronenberg Film: Crash (1996)
Last Sanctuary

By Williarn D. Prystauk aka “Billy Crash”

David Cronenberg's name resonates inthe novrar roam bee
tse his foar laden featurss are well craod. They mave
beyond tops hiledslashers and gare fests zhowease ib
rant thematic stories inhabited by song and relatable
horacters

But Cronenberg gaes one step turther than many hort
witer/drectore, and that's why he's a standout Inthe
senre, and why he'll be remembered inthe long term
ven i ome der't ote his unigue fist an tener fram the
beginning

(One af the most poignant clerients ta ony horar i that of
2 ronetuary For at ome point, cur hero ar serous search
Fora place to excape tao: ka stage a counter alfock fram
orto simply hide until dopbreak. To mate tole of terar
feally werk on an cudinee’s callactive psyche, the best sto
ties sccm fo incorporate that hera's mos! fateh ranetuary
the home. Ate all # you're already inthe contort and
solely of where you bck of your sneakers, why go anywhere
se? And this ellows the audience to connect wih the nar
rativs as they imagine whot they would ds to survive theie
town abode, But when the noms, thet protective wamb,
comes under attack i may bozom a torture chamber of @
tort, leaving the hore in trouble ond despa like never
helore, and bringing a greater rensation st fear to vewa's
That's becouss, there's nonhere lat to go, Ne place te un
to. And for many, thi may soem like the lartxanctuary

Iie
‘And this ic why Cronenberg stands out from the rez
The last sanctuary isthe hers body

ey horer is alten altibuted to Cranenberg, bul it de
orves more than azrving ara trite moniker. Character ore
nat simpy uncer attock tron parasites or intaral cll al
{ered with thot af a common hovselly, or micro phaluree
ididen within rmpite, There's something for deeper at play
thot makes Croneaberg's har filme even mare snactling,
fond hair fe

Far Max Renn (lamas Waode), he can't Find rcuge in his
periment or oven hit place af empleyment in 1983's Vide
drome, but that’s of lille consequence bezause Ma's
bedy's wider sioge by ¢ vides bosed virus. From watching
tae much V deodome, his world becomes sural and Mox
con't distinguish fact Irom fiction uni beth werlds callie,
tnd the nation bacemes irclevort. What remains relevant
is thot his bady her become o vessel for Videodrome to-do
ifs tidding and wreat havac on human targets, When he's
repragrammed” by Bianca Oblivion (Sonja Smits), hx
body's ured as a weapon ance more, this fime against
{hore whe infected him withthe video signal. But he's
spent, cahausted, the law's on te way. and Max's cathode

roy'stoding fact. Inthe end, it may soem oxi he's wan
{ines he's slain thase whe used and abured him, but he Aa
rowhote lo go and folds up in a candemned tug boat

Aug's the tow tuck ofthe harbor a “worker bee" sevice
‘ohicle that dass the heavy iting. Like the tug, Mex haz
becn used up and “condemned” eHor playing puppet to his
raw dead puppet naste's Whethe: fram bis nn imaginal
onar om Videedrome, his only escape is one at zclh,
murder. He con't run hom his own body, but he com sot hs
oul fe, “Death fo Videodromel Long liv the naw les
Becomes 2 shot lived battle ey beeasre a story's and, his
flesh, his sanctuary, won't and cont lart, and Max Renn
meaning “Grestest Rebirth," achioves just that with o bullet
{othe sain.

There's High for humanity in Scanners when Cameron
Vale (Stephen Lact), e dealit with unique and destruct
ve peychie obi, is selected ta stop Dor Rovok (Michael
Ironside) fom trying to take ovar the wold, This may seund
sily toon catent but Revat's aregancs gace@ lang way "=
oy the lear. The important factor: Regard ess thane ie @
eoaret or jul port tthe humon herd, one ean hice tom
fucha creel paychic onslaught. Scanners can oftock 3 ml
fond edjuet their mental power fo bring about eciures, ine
‘eaze heart rater, unlearh spontancous human combustion
instil parol sor even mate Heads explode. Hence,
Revak’s mod scientist plan

Like Videodrame, 1981's Scanners leaves no place for
people to hid, and it one dovanttoke core to protect hie
Other zonctuary the body ~ alls lost Vale discovers this
tthen he and Revck battle fo the erin steel enge scan
niet match. Vole’ body's lat charred and hollow, but the
Toul has jumped info Revak. Our hera has @ new body ard
{new look But what happens neat? Vale may thirk he’s
tron, but inhabiting Reval’: bay allows him to arcume
Commend of the company that will unleash ephemeral ond
Create a young scanner amy. The real fight may be on
Fines he's the strongest scanner ond went from being @
lranticnt te naw having all the boat things. He's ontop of
the foed chain. Vole can hide inc new body ~ and maybe
possess others ax necessary. He can became the ultirate
Chameleon, the wlimate concealed weapen,and we'e lott
fe wonderif cEroluteseanner power ill evra. (Lang Ive
the new eck?)

“Raglan encourages my bod ta revall against me. And it
id. hove @ rmallrevalation on my honds and I'm not out
ting it dows very succassally"z0y2 Jon Hartog (Raber! 8
Silverman) in Cronenberg’: disturbing The tread tam
1979. Hers, the bad ir final tig leat of sats ond humo
rage finds ite center stage. Dr. Hal Raglan (Oliver Seed)
halns the Somattes Institue, where he encourages pet
nis anger fo maritert ax something “other” than cerses,
Screams, end panic ifoeks, and they now toke shops om
the slin os tumors or Bleiches, arin the ease af Nala Car
veth (Somantha Egger), she gives birth te her rage ns ase
sol, rurderour children,
\Whara Homtag's hostility hax manifested ax cancaraus
tumors om tis thont, Nala has achiaved what Semafiee
all abn: fneing tha hay. But Nole’s rage int ana and
dons nacaurs sha beeps bringing forth chidean nd ema
‘broad af short, hostinLling machines. And tae bith i 9
‘scarnl ong: Tha brand cemmas from nn sateen sack Nala
Inust hie through to aa tar monster bahia fina. And ike a
Gia, she licks tham elaan haforn ininoshing tham inne
the wail This is tha basa emotion nf nnger mn ral
{ong live the new flash, agen?)

Rafnea being destoyed, the brood attacks Nala’ taal ith
daughter, Candy (Cindy Hinds), who's traumatized by the

‘taal. ka tha vis in Vdandiome and the se af apAame
tain Seannace, lamps appar om hae nem ndicating naw
‘ge being hore

Humanity i te un virus and to fens ourzalns from erage
a nnd rage, wa must Inova rr bucks asin. Ths may
Inna Cronenharg's files sam “ane-anta” er evan pal,

Js Fable, but his natives neni other ways for the sty to

hive played ent. Mar Renn navar had to wate’ the viseo,
Cameron Vala navor had fight his heather baad nn, ane i
Nola herd only gana to anathar doctor. But Cromanbaia's
fiime have mora nth than that, and there ara eatin
‘ther thomas in asznvata,Fuan inthis content, tha Incsan 0
fe lanrnad may be: Don't ba arrogant and dat give ina
‘ge, oe that engaging internal conflict wll nly lad
saltanebiltion

In Cranenberss film, there ina escape. Na cats haven
Tha self tha tt ad only sanctuary, i Inf wide apn 10
tinct ftom the powor of the mind Erm amation, And F ane
OF hie main harans amps logic, tht ehoracta wll moan
ally suzrunb 9 amation anja. This matas for “hapaless
hot” beceueetharn ix an place ta go. When 9 Cronan
fig havtar hoging, thava's a way a fr tha canvnetars,
ate or villain alte. Regnrdlace of moray ar powar ar dase,
‘hay will fall vistim From within, and the lat snnctiony,
‘hn dy a hamoniitnd, coment ond ultinataly

Billy Crash an Twiter:
Se, 7 Berashpabace

= Wt by Demeter Lorant
Iitp:fdemeter-lorant farmat.com
“Crononberg's frst ‘unpredictable peak? emerges in
his student film, From the Drain. An organi military
weapen kills a soldier, throwing into question his
current misslan but sparing anather who has no such
‘doubts, Often read as a political text, the film is,
equally an existentialist intervention: the soldiers!
moral superiority has no bearing on the weapon's,
behaviour" —TIFF's Cronenberg Museum +

The second stunt film from Canadian aody harra” euieur
Dovid Cronenberg, From the Drain (1987), nothing shart
of absurd and experimental, a foreshadowing of the dysta
pian Future that would dominate the frst 15 ar 9 yours of
fis career such ae Scanners, V deodrome and The Brood
Scomingly constructed fram Dyra labelling and gaffer
tape ~ nat iteraly but notably spartan in its ot cizetion
fe could assume evary cant ef the $500 budget war
unk inte Témm Film stack and lab processing. While
low budget productions, and the imitatinns that come the
‘ain, are almast mandatory for stucent,fow reveal the
level of creativity within retrician, budget or otverwze,
that @ young Cronenberg dees.

Fram the Drain 2 14-minute lng, one-story that fea
ture tna clothed men in bathtub, knses up arsund theit
compits There are na perzonal ems ar establishing dees
‘ation inthis bathroom, rely © used cake af roap and
Wile alae. Desp te the twa men wedged up agcinst cach
ther they are strangers, evidenced by one man (Mort
Fis), who [wil fer to ar Mr Moustache’ for case of
identification, apaning the dialogue somembat facetiously
with: "Do you came here atten?”

With effete affect on, Mr Moustache says he's lating
for “The Disabled War Veterans’ Rerroation Cerise” (an
cotly ezample of Cronerberg's penchant for coming up
with colourful names for srganization), although the inp
Weatian is thet 2 manta institution fa roturne eld
crs from an unsposfied conflict. He ealaciously Fingers the
bethtub tops ond fouee! throughout the entire sichonge

ROM
THE (1967)
DRA

by Emma Westwood

editing es looking far companionship and “a litle af
fection even® but he alwoys gels potinared wt “speech
less dite, elering ts his mew Lb budey Gobo wil rer
tous Mr Silent Type)

Claeping his hands gleefully, Me Silent Type (Stephen
Nosko) is clnorly obaersed wil the plaghale, over which
Mr Moustache i crouched. He finally beaks his sh ence
withthe single word “tend” and admits to believing it
trould be best they pul the plug in. According fo Me
Silent Type they need nol be cunce'ned about what gore
town the diain bal what mil come up fram i. Given
Cronenberg's forthcoming prapersity fr the viscerally
orkid this eives a possibly the fit instance of "Cro-
tenbe ian’ horas eapresaed explicilly in vinlogue, cia
ng images of the porasites from Shivers or the armpit
tronn om Rabid

Foronoia new bubbles 2s an undercerent, and the wo
ren argue a 10 thet teal detities: chemical and Lol
tival wecpons expert? Recreational Program Director?
Undercover agent? Mi Moustache ays, "Nothing ever
aires from the drain al comes from your mind” consi=
ely summarising Cronenberg’ angoing creative agenda
ol mising the physiolagial andthe payehslogical which
fue through meaty al af his ive, even upto tea. Thee
banter and sm tching ef authority continues unl the pase
noia rarest tellin 9 atuprmotion teudeil monster thot
tise frm the Scbend to bill ne of them

A jeunty slatsicalgutor tack, delicately baroque in
halure, fs avelodd es an audio seundick wevess the
titre fil, acting os the ligt te the elemental shade of
the stow. Its panicularly effective wien is happy tills
play out ogsinat the plug attack of the tendil monster AL
this arly stage in Cronenberg’ coveet, he demonstrates
ppowesful proficiency in creating steitelling counter pain

ten te ‘dandyness’ af Mr Mavatoche and his easual
pickup bar carversation could not be further removed fim
the gravity of chemical worlare,exiatenial angel and whet
is now bras recognized 2s PTSD (although tackled bere
thin thats contoet i the humour that dominates From

the Drain, notable alee in Cronenberg’s Fist shor fl,
Transfer (1966), where o pationt tracks dawn ond conf
roms hs former psychocnelyt. The subject motter of both
filme might not sound comedic but, thate the Funny thing,
they ote funny ~ oot the very least, ntllctualy om
sing. Ths evidences Crenenborg’s innate understanding of
fam ond function

Despite rarely boing regarded 93 humourist across the
durotion of fis cavear, the ‘wickedly Funny’ does ploy @
huge role scrast Cronenberg's couvre.s Even as 0 student,
‘and confined within the shor fm format, Cronenberg
opted ta vee comedy to craate audience rapper quiclly
‘athino tight timetroms, Both horrer en comedy shore a:
tilor qualities intarms of entetionall engaging an aude.
» raidly, whergos drome requires sereen-imne to davalop
Imeoningfl attachment to characters. The fact thot Cre
Ianborg chose humour over horror indicates hee unfot ty
pigeenholed a¢-0 “horror flnmoker’ ond, a-qvably, oto
ally scoring peoale figures very lowly in hs stor:elling pt
nities; it's more about peychelogiol abstraction. Ethical
Conundrums, questions eround morality ond exietential d=
lemmas ora the dominentthemee thot colevr and defina
his work oven when mating From the Drain.e

lee important to remember thot From the Drain is sila
ttudent film ond, therefers, 9% sxoerimentol study inthe
Cinematic ortform. I could likely be better sxecuted by 0
more experienced flInmaler, ond thot meons @ ore sxpe-
hanced Dowd Cronerborg too. Within the ovent-gorde
noture of this lm, its surealty ond figurotive diegesis~ @
common enpley of students In pushing cractve boundaries
‘ond finding the” on voles’ ~ thows Cronenberg wos not
Immune 10 the filmmaking 2ltg0st ofthe 1980s, in which
ftudente the world over ware moet nfluanced by the French
New Wave (Fim commentator Kin Nowran posits @ rove
direct ink to Alain Retna 3).

https://emmawestwood.wordpres:

hare From the Drain folls dow iia its technical execute
con, ond possible print dataroration over the possing daca-
des, despite the Toronto International Filn Festival's

nt rastoration effet forthe 2016 Arrow Video Buoy
falease Dovid Crorenberg's Early Werks. The echoing of
the sound recording ond ho'dh, perfunctory lighting make
the dlologue ond narrative dificult to interpret, Ie alone
penetrote, which meone it needs to 98 raployed a couple
of times inorder to gresp the story thread. Cronenberg
‘works no dlalogue-hoovy Fashion in these sorlyyo0rs, on
‘operaoch thot defines his fet faatre filme Stereo (1969)
fond Crimes of tre Future (1970) 100,26 Hf dielogue is ino
Walla then o mossive chunk ofthe fis thru! gots lst

TIFF's Cronenborg Museum admits From the Drein is often
“rood eso peliticol txt” and thore ove definite covlet-
cons ta John Frankanheimer’s The Manchurian Candidote
(1962) ints invigue,conseirocytreory ond narrative
layers. More than anythig, tiough, Fram the Drei is on
Homineting cose of rettospacton, whoraby we get to $69 0
fledgling mostor d scovering his crt. honing hs oppoech
‘ond sketching the broad outline of 9 soraar thot would go
‘onto combine the physiol ond psychological in an unpa=
rolled manner,

Crdnolee

1 Sourene low TI's Cronenberg Magee
stpilleconerborgreswo tit rel! B Febrry 2077

2 Other gramnne: Canon coms fr Etc Ii
sree B01 gan of Sou (eames othe fore, 0 ond
The Exthede Ror Mission ideodrome, 19831

2 For stomp, inVideosrome, ti itt not fo dace ome
ses shor iS wants sei fe su eee, les Woads Sere
ens voning doncio'n he ballrbuton ard Bebe Hara pe
STison oa tom a pesionee N screen bbe sone 25 1

4 Fims sce 05 Dead Ringers (19892, M Bley (1293)
Gen TITS) Sie dootel ng von tht oul ve cole how
Sent ena ntp shore sano Aero the pont 20 rey
gnender hos aipely dwcted Himsa sald be loosely ca
s\n dros andr tile uch oe Hits 3 Yo ae
38)" R geroos Mathou (201 ond Move fe the Sloe
Gow.

5 Takes from the Speco Fetare record wxluiel fr from
Vide't 20°63 ay enone Our d Cronerborg Cat Mores
wine site ond suiber Kia Nowron dears Craverberte

This place was fet publisied inthe online fi journal
Senses af Cinema in March 2017 and republished wth

nnmmoannnn coi 8°94 thanthima S287
Dovid Cronenberg wos my fst fvorite director. Even before
neu what a dvector old, or before I'd sean more than a
‘191d 0101 of two of his fms, I knew this to be tee. Seeing
fis name obeve both The Fly and Videodrame wos enough
forme to reali thot there wor something soecial aout ths
‘one, and every lind subsequently watch would enly help
‘enforce that, diving me deeper and deeper into nightmare
‘worlds of body transformation ond sexual obeession. But
‘very director has to ster somewhere ond with Crenen:
berg, thot “somewhere” i two brief feature films, micro-bud
‘get experimental movies that help ly the groundwork for
one af the greatest works from ane of elnema"s greatest

His frst feoture, Stereo (1949), is something of on indepen
lent miracle. Running only 0 litle aver an hour, Stereo wos
mode 07 shoestring oudget in one location with 0 camera
thot wos 10 loud te propel record audio and on almost
ronentetent cost ond crew Yet, even with all these Iria
fone and completly without the lnury af hi signature body
horror apecial effects, Stereo stl manages to be partact
‘example of the wonderful career to come

The film functions 94 an educational account ofthe fictitious
studi conducted inthe hallowed hols of the "Canadian
‘Acodemy of Frtic Enquiry.” where sclentats probe the sec
fats ofthe mind. The particular cose study Featured 19
Stereo woe study bythe unseen Dr Luther Stringfellow,
‘sho surgically oltered eight willing test subjects (one of
vthom is ployed by Cronenberg regular Rerold Mledeik) to
‘grant them telepathic abilities. OF course, there's @
otch—all prychict naed to develop their powers, which ie
lone through constant sexual experimentation, exploration,
‘ond interaction. This process Is referred to os “the socieche
ilstey ofthe ott,” which m ght be the single most Cronen-
berolan sentence ever wate,

I's eory to 260 how a movie that's funeionaly sbovt om:
sexvol psychics developing thelr powers through psyenle
‘rgies would become nething mare thon o skin Fick or grind
house roughe, but Cronenberg pute the concept to g'eot

use. There eo very clear line Inthe film between the d
lopment ofthe subjects" sexvol encounters ond their mental

tak

prowess, bulding upto ornizenual orgies za powerful they
hatter peychez. Yat Cranenberg neve lets the Hl’ clini
fal, cartrlled gaze falter, coptring even the most explicit
scones like they're nothing more than sterile inerors.

‘Az | mentioned catlir, the camera Cronenberg ased fo
thea! the film was loud that it waz impezible fo propetly
rezord audia) ze the storytelling taker diferent turn fats
td of fllowing the everts af the study ax they hopped,
the ll is nartated by a hast of differnt scientists reroun
ting Stringfellow’: expariments with Fostage ofthe subjects
playing aut silently on arrecn, ae of dialogue or diegatic
Found. The scialsts all zeem ta have diferent speciltcs
nthe care, ond os such all af them recount the story
ferent ways, al af which bara towards the zame hor
ving ending. Its 2 nove! approach fo proceeding: thet
tosilysizesteps the camera's limitations, ax well adding
fa the clin al tone that would go on to become one of
Cronenberg’: staples.

Anctter limitation that add to this unique atmosphere i=
the way Cronenbe'g uses the setting, Sinze Cronenberg hod
stlended the University of Toronto years before, he decided
fo stich withthe fli ond shoct the film entire within
the institution. While ene could see thc Leng a prob em
rollegs campusss ore searesly known for looking lise sterile
aperimental facilities Cronenberg zhoote the university in
nay that manage: to copture both a unique geagraghy
fed a perlectly storie, clriel aesthetic Infact, the Cons
dion Acadamy of Erotic Enquiry i visually stking and belie
‘able ereugh to function a a character of tz ows, and @
tome memarable one at that

Stl the highest high of Storea doesn’t come from the plot,
the atting, a even He impeccable narration. No, Sterco's
soul retains pacing, unfolding ike a marriage between =
Fypnstic tne poem ord a dry educational video. The film
just flows from one scene tothe rent with vor ile physical
Betion happening, rreatin a vibe that makes it feel more
Thea special interest documentary than @ narrative Feature
Ieee structure that can easily be izalating to most viewers
but you can gel wth tthe entire film ject cpene Hell up
fo you, making the brief runtime foe! ike on ctesmity inthe
het possisle way
W's ths touch that mokas the sxnerience cf watching Sterse
really unlike wetching any ether Cronenbora film. t's 0
movie that’s egaressnaly academic about © scionce thot
‘Joven’ ext, and when combined with long diotibes aboot
fmm sesualty (the foe norm, on sxponced form of iconv
Tig") t's elaor why 0 wiwar would bounce of Stereo hard
Butte do 39 would to mise out, bacouce Sterao isnot only
one of the most forcmotina Cronenborgs from a historical
erepective, i's hv most faazmating fom @ forma perspec
v0 08 wall

Ayeor ofter Stereo, Cronenberg gave the feature film anot-
her stab with Crimes of the Future 0 spintual suecarsor 0

Stereo, Muct like Stora, t's 9 film with no diagete soune

tr dialogue, following @ tciewtst ae he makes obsarvations
‘on the world cround him, Unlike Stereo, nowover, Crmes of
he Futura meant to be seon less os 0 sonic dacemant
fond mora os ¢ series of drory entre, swapping aut multip®
horraters for one mon: Adnan Tripod (Ranale nd),

Advan 9 scientist ond 1 hood of @ daimotoloay clic
rmenacinaly named The Hovse of Skin, The institution i=
pores, corseting of only Adrian, two interns, and @ single
rmole ootent, but unkke Stereo's Canadian Acadery of
Erotic neu, the explanation bewind the lack of psople in
The House of Skin te bone-chilinaly sinister. A mysterious
disease known ony at Rouge's Malady wos spread through
totmetie praduct, and quickly roreed oround the word
Imvsterously picking off the planets entire population of s.
vol moture women, Isaving only bore, men, ond young
file let olve, During the plague, the mon who ciscoveres
‘t.Advian's mentor, Anton Rouge, vanished, and Advon
rakes it ypon h mes to trock the man dove, Trading tim
rough the dorkest ports of pleaue-devostoted Canoda,

While Stereo wos Cronenbers developing the peychorexval
side of his work, Cnmas ofthe Future flachae tout with his
‘other infomous trodamark: sickening body horror of the hig
hot caliber. Rouge’s Molady coures mysterious white foom
10 low from v cts’ onfices (helpfully dubbed “Rouges
Foom), and the disease toon laads to bleeding and myst
rows flids pouring from the eyes. Given the bude, the ef
fects aren't anywhere nagron por with tha hornfic sights of
The Fly, Videodroms, or Scanners, but when you hove myst
rows white goo caning om romsora’s ar, you dant need
he groctert effect in the world to be grove.

Helping work arourd the budget isthe foct thot the arisisst
bits of body horror are raved fer norration, Like Stereo,
before it, Crimes of the Foture uses the neration fo not only
rll the moin tory, but to ave the briefest glimpses ot
worlds 190 Fontostical forthe fln's resources, I's @ clever
rick, but there's ane big problem: Ronald Mlodrit's narat-
‘nit bad, Realy bad, I's stuck n 0 bo between the pro
fessional, matter-of-fact presentation of Stereo's narrators
‘anda tradivona| monologue, illed with needless breothy
povses and a vocabolory thot fits his character, but dit.
Facts from the otherwise arty tone ofthe fi. He oct ike
he belongs in tre world of Stereo, ord instead of creating ©
neat dissorence, ait doses distract,

his is @ problem thet rune through nesly every frame of
Cres of the Future. Healy, relly wants tobe Stereo
2.0, even when thats al edd with ity om story and com
fet, The satrar's tones don’ fit the fngesing pace
doeus't fi and the examination of non-heterosenvcl orien
lotions gaes rowhere, ending up seeing cuder tian it
feels the film would bie tobe

Now, none af Hin isto say Crimes ofthe Future f worthless
compared lo Slee, oc even that i's justo rehash, becouse
its nat In Fac, when Caines of the Future does ie own
hing, the results ove gute remarkable. Ihe focus on giving
he iy more cleoly defied characters os well as 9 cane
‘ant POV helps ground ie fim its world, ond gives the
plot actual stakes beyond the scenic curiosity of unseen
Actors. Pls, ¢ wider verity of lascinating locations are
led, ond the addition af colar ceuly "lps make the move
visually staking locations (such aso lobby filled with glo
‘wing neon boatds) stand out

10 la eden li

fie by David Gonenbarg

CREIVESofE
ther UTURE

serio Roneld Medi
it, road ind by Dovid Cronebarg

NOW SHOWING! « BRITANNIA drive

ul when you get down to i the biggest, nest important
change Crimes of the Tulare makes from Stereos where it
hovses to go, While | wll ot divulge inte spoilers, Crimes
of the Futur takes lum in the thir oct to tackle subject
hnolter Cronenberg hadh't dared explore before avd sease
ably han approcched since. leant soy wth confidence
hat he actually hondles the taboo a1 well asthe sory
needed, but i's certainly disconcerting, and realy hammers
home the film's hopeless, cushing slmosphere when i mal

Unite Steree, Crimes ofthe Future ien'La great fil, but
i's certainly a fine one ard helps se! up themes that would
later be explored in tiles lice Shivers, Rebid, and Ive
Sood. Yet, much to my disappointment, the noration would
never cary over to anther II Incving just Slaven and
Cres of the Fulure az Crorenberg's twa solely narrated
features, While is © dsappoiniment he'd never touch the
format again, the wo Fline that did use the formal certoily
ood oul in thes Line, ond ail said gut today For betier
for worse, Stereo ond Crimes af tne Fulute both represeat
Cronenberg ot his most experimental, and are easeatial
pieces of an exteutial directors imography. Don’t el them
poss you by.