
Crimes of the Future
1970

2016
PGDirector
Patrick Siegfried Zimmer
Average Rating
No ratings yetSynopsis
It's the year 2020. Every day billions of people are victims of the digital, medial, narcissistic, hedonistic, careeristic and consumerist overstimulation and suggestion by the establishment. In a manner that remains unexplained to this day, hundreds of millions of citizens of the first world abruptly and epidemically fall ill with Anhedonia, an inability to feel pleasure and satisfaction. Two exemplary victims of these unspeakable circumstances are the dissimilar, but nevertheless inseparable, aristocrats' sons Franz and Fritz Freudenthal. Wholly bereft of meaning and tormented by their miserable, dull and joyless existence, they slowly waste away; until they become aware of the new and unique lust-stimulus therapy by the world-renowned and very trendy Prof. Dr. Immanuel Young, seeing in it the solution to all their problems.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The bond between Franz and Fritz is described as inseparable, hinting at a deep intimacy. However, the film lacks explicit confirmation of queer identity or romantic orientation.
Gender Representation
The story is heavily male-centric, focusing on two aristocratic sons and a male professor. There is no evidence of female agency or diverse gender hierarchies.
Racial & Ethnic Diversity
The narrative focuses on Eurocentric aristocrats within a first-world setting. The character names and class status suggest a homogeneous, non-diverse demographic makeup.
Religious & Cultural Diversity
The film offers a sharp critique of Western consumerism and capitalist structures. It portrays modern societal drivers as sources of systemic psychological decay.
Disability Representation
Anhedonia serves as a central plot driver, elevating a psychological condition to an epidemic scale. This provides a nuanced look at invisible mental health struggles.
Strengths
Areas for Improvement
AI Analysis
Anhedonia - Narzissmus als Narkose functions primarily as a social critique of modern Western life. It succeeds in using a psychological condition to drive its narrative, providing a platform for exploring neurodivergence and the impact of systemic overstimulation. However, the film lacks demographic breadth. The focus remains tightly locked on a male-centric, Eurocentric upper class, which limits its intersectional reach. While the cultural commentary is strong, the lack of visible diversity in gender and race keeps the score modest.

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