Made on a $20,000 budget, David Cronenberg's second feature film, Crimes of the Future, bears a strong similarity to his first outing, Stereo, produced the year before.
Cronenberg’s obsession for such matters as bodily mutation and grotesque growths, aberrant medical experiments, massive plagues and futuristic architecture are all here in a convoluted look at a future gone perverse.
The world’s entire female population has evidently been wiped out, and the male population has turned to various, and disappointingly tame, alternative sexual fixations. Prime symptom of the illness is Rouge’s Foam, a substance which leaks from bodily orifices and is sexually exciting in its initial stage, but deadly later on.
As he moves through the bleak but architecturally striking settings, the main character Tripod begins to take on the dimensions of an Edgar Allan Poe hero, a doomed figure traversing a devastated landscape.