"In 1969 and 1970, David Cronenberg began his career as a feature filmmaker with two movies, each coming out to about an hour-long each, called Stereo and Crimes of the Future. . . Cronenberg seems proud of both films, . . . but he says they're not films to build a career on. . . These two films are joined at the hip, pairing off together in a way that almost seems deliberate, though some of their peculiarities, such as, or especially, the absence of dialogue or synchornized sound, the only words spoken coming through extensive narration were . . . decisions made in part for practical, budget-and-equipment reasons. . . they both use narration to the exclusion of the on-screen actors speaking to one another, they're both about science . . . and they're both balls-out crazy. . . even with all the madness that has followed over the course of Cronenberg over forty years making movies, Stereo and Crimes of the Future manage to stand alone. They're experimental in a way that even Naked Lunch and Crash don't try to be. Somehow, Cronenberg has managed to build a career on films like those two, but not these two."
"All of Cronenberg's films are about human decay and this one is no exception. . . Unfortunately, despite loads of action and blood, there is precious little suspense driving this film. . . Still, Scanners is a classic and it certainly blew people away when it showed up in cinemas in the waning months of the Carter Era." - eSplatter
In July of 1975, Stewart and Cyril Marcus died, both of them, in their Manhattan apartment. Withdrawal from a shared addiction to barbiturates was the official cause of death. They were brothers, identical twins, in fact, and both were gynecologists. Their lives and careers by this point had been shattered not just by drugs, but by malpractice charges having to do with what Ron Rosenbaum and Susan Edmiston, in "Dead Ringers," their Esquire article about the twins, refer to as "a powerful aversion to filling out insurance forms." So this, the ruining of their bodies with drugs and alcohol, and those same substances beginning to affect their work to the point that their careers were essentially ruined, eventually led to their deaths, which, official judgment or no, remained, and remains, mysterious for a variety of reasons. . . - The Cronenberg series, Part 9: I'm Not You
In 1964, a 20 year old French diplomat
named Bernard Boursicot (named Rene Gallimard in the movie - played by Jeremy Irons) who was posted in Peking, China met a 26 year old Chinese opera singer named Shi Pei Pu (Song Liling in the film). They carried on a sexual affair as man and woman, one that included Shi Pei Pu insisting she had given birth to their child - Shi Du Du. Boursicot either believed or accepted the situation. After twenty years, when both were in their 40s, the affair ended and it was revealed that Boursicot had been feeding secret documents to Shi Pei Pu - both were arrested and convicted of treason. In the course of the investigation and trial, it was revealed that Shi Pei Pu was a man who had fooled Boursicot into believing he was a woman and that the child, Shi Du Du, had been purchased. The disguise seems to have stemmed from the fact that even in the 1960s, female roles in Chinese opera were traditionally played by men. The two men did their prison time and were eventually released. Boursicot had been only 20 years old when he met Shi Pei Pu, and Shi Pei Pu had been 26. When their affair ended, both were in their 40s. Boursicot attempted suicide in prison but failed. Shi Pei Pu died in 2009. . . When contacted about his former lover's death, Boursicot said "He did so many things against me that he had no pity for, I think it is stupid to play another game now and say I am sad. The plate is clean now. I am free.
Cosmopolis is a day in the life of Eric Packer, a 28-year-old New York stock market multi-millionaire, as he crosses Manhattan in his customized limousine to go for a haircut. His cross-town journey becomes an almost vertical voyage, with bizarre occurrences and an authentic parade of crazy characters along the way, in a landscape that depicts the modern soul of the West at the end of the millennium. - Cosmopolisthefilm.com