A chillingly beautiful dare of a movie, David Cronenberg’s “Crimes of the Future” imagines a near-future much like the present, only colder and more feral.
Shot in Athens, largely at night, writer-director Cronenberg’s first feature since “Maps to the Stars” eight years ago gathers up a lifetime of personal obsessions in a story Cronenberg conceived late last century, and only now has gotten around to filming, the way no else could. Or would.
The title comes from an early experimental picture Cronenberg made in 1970, set in a skin clinic where horrible things have happened to patients who used a certain kind of cosmetic, unaware of its dangers. The threats in the new “Crimes of the Future,” which shares a general theme and a title with the previous one, are everything everywhere all at once.
