Written by Efe Teksoy, “Crimes of the Future”


Cinema Writer/Film Critic Efe TEKSOY; wrote the science fiction, horror and futuristic thriller film “CRIMES OF THE FUTURE” for America’s Los Angeles based Internet Newspaper @alaturkanews.


Known as the maestro of the Body-Horror genre, master director David Cronenbergmade a meteoric entry into horror cinema with his movie Crimes of the Future, which had its world premiere at the 75th Cannes Film Festival. In this first feature-length  he shot after eight years, Cronenberg; biomedical offers a futuristic-thriller of transhumanism, eco-horror and bio-organic horror subgenres. In the opening sequence, we encounter a tragedy from Antique Greek-Rome Mythology, and It tells us about a hedonistic era in the near future where people became desensitized to physical pain and enjoyed the horrific surgeries on their bodies. Similary, British philosopher and transhumanist David Pearce; in his book The Hedonistic Imperative, he describes a purified future in which, within the next millennium, the biological conditions of pain will disappear and physical pain will be removed from human life, thanks to nanotechnology and genetic engineering. On the other hand, the director is not limited to this, and places the artists who interpret this situation as a performance subject and art form at the center of the story. Thus, Kafkaesque images emerge in the light of Franz Kafka‘s A Hunger Artist and In the Penal Colony, which includes symbolic and allegorical meanings. In this arthouse production, where we encounter Cronenberg’s first original script since 1999’s eXistenZ, we are faced with a structure that turns the sexist beauty norms upside down and questions them. In this movie, we see all the horror symbols and phenomena of again the classic Cronenberg cinema through detailed and striking images. In addition Gilles Deleuze, one of the leading thinkers of modern philosophy, a semiotic interpreter and the first cinema philosopher to consider the art of cinema as a philosophical creation, in his book “Cinema-I: The Movement-Image”, states that cinema is a creation technique that expresses the image of thought says and indicates that this creation is also an ‘Image’.  In the movie, we see that director David Cronenberg transfers the image he created in his mind to the silver screen with a magnificent visual atmosphere. So much so that, in the story, we see that two disciplines work together within the framework of the epistemological level and the ontological level (philosophy of knowledge and philosophy of being). Another detail is the differentiation and change of communication and relationship in the world of the near future shown in the film. One of the founders of the Ljubljana School of Psychoanalysis dominated by Lacanianinfluence Slovenian philosopher and social theorist Alenka Zupančič, What is Sex? She talks about this in her book.  And philosopher Zupančič, whose work focuses on psychoanalysis and Continental philosophy; In her book, she says that the New Order and New Human engineering mechanism reveals the unrelationship.


In the near future dominated by the technology revolution, human beings adapt to the synthetic world around them with their biological differentiation. Suffering from a disease called Accelerated Evolution syndrome, performance artist Saul Tenser, with the help of his business partner Caprice, transforms this differentiation into avant-garde performance and showcases it publicly.

Stars; Viggo Mortensen, Léa Seydoux, Kristen Stewart, Scott Speedman, Sozos Sotiris, Lihi Kornowski, Don McKellar, Nadia Litz, Tanaya Beatty, Welket Bungué, Ephie Kantza, Penelope Tsilika and Denise Capezza.



-David Cronenberg’s first film in thirty-five years not to have his sister Denise Cronenberg serve as costume design. Denise passed away in summer 2020.

– Kristen Stewart replaced Natalie Portman in the role of Timlin.

This film marks David Cronenberg’s return to the genres of horror and sci-fi since eXistenZ (1999), made 23 years earlier.

– Film composer Howard Shore‘s eighteenth collaboration with David Cronenberg since he worked on the 1979 film ‘The Brood’.



In the technological evolutionary world of the future depicted in the production, we see that artificial-synthetic foods are more popular than natural foods. French anthropologist and ethnologist Claude Lévi-Strauss, the greatest name of structuralist anthropology, states that food is the food of thought. This shows us that; The world of Crimes of the Future, where plastic food is eaten, actually depicts an anti-utopian world that is vague and open to uncertainty. In addition, the different foods shown in the film are of great importance for the dominant layers in social life.While the elements related to the concept of life-death (organic-inorganic, animate-inanimate) are conveyed in the story, the death instinct is among these elements.When we look at psychoanalysts, it is seen that they examine the concept of death drive in depth. Sigmund Freud, interprets it as an instinct to return to the inanimate. Slavoj Žižek, on the other hand, says it is the insistence of the organism to repeat the state of tension without stopping. And in Jacques Lacan, he states that every drive is essentially the death drive. In the production, this instinct is shown to the audience through the characters. In particular, the fact that the character of Saul Tenser is covered with a black robe brings to mind the words that Deleuze’s death instinct can be understood in relation to masks and costumes. Horror-thriller elements and wild-bloody scenes are extremely intense in this production, so it is worth saying that it does not appeal to every audience.


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