Cronenberg's first two feature films are experimental cinema constructions that thematically outline the Canadian's path. Both STEREO and CRIMES OF THE FUTURE are vaguely reminiscent of Stanley Kubrick - notably his recent masterpiece 2001 - in their focus on architecture and coldness, the two defining characteristics of Cronenberg's two 60-minute films.
In both films, a kind of science diary of a narrator is superimposed on images that stand on their own. Where the concept of STEREO, in which telepathy is treated (pseudo)scientifically, quickly reaches its limits, CRIMES OF THE FUTURE can show more endurance and breath, simply because Cronenberg charges his scenario satirically.
In addition to the slightly simpler off-screen diary narration this time, he sets a sound and sound…