Stereo (Tile 3B of a CAEE Educational Mosaic) (1969)
Directed by David Cronenberg
A group of Canadian university students agree to partake in a grisly psychological experiment, which renders them incapable of speech but able to communicate telepathically.
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What critics compared Stereo (Tile 3B of a CAEE Educational Mosaic) to
Enemy’s “twins” aspect invokes David Cronenberg’s Dead Ringers, but the film’s look revels in beige concrete in a way not seen since his early films Stereo, Crimes Of The Future, and Shivers.
The ideas in Scanners were actually quite old, deriving from one of Cronenberg’s student features (1969’s Stereo), a futuristic script he had written called Telepathy 2000 that had briefly interested Roger Corman in the early ’70s, and a script called The Sensitives that he had set aside in order to make The Brood.
The set includes Cronenberg's very first feature film, Stereo (1969), a new documentary on the visual effects, new interviews with the actors, and an old television interview with Cronenberg.
Until, that is, you account for its packaging as a telepathic double feature with the early experimental feature Stereo (69), a wonderful bit of sardonic Burroughsian pseudo-science so comprehensively prophetic of the Cronenbergian that it reads like a Rosetta Stone of the New Flesh.
The "Canadian Academy for Erotic Enquiry" is the stage for this sustained abstract jest, where telepathy is the ongoing concern: Scanners is already sketched as Mlodzik lifts his floppy mop in front of the mirror and massages his forehead, seeking the best spot to drill.
You can trace David Cronenberg’s meditations on technology, disease, addiction, and mutation in the body human all the way back to his earliest shorts (Stereo and Crimes of the Future) and features (Shivers and Rabid).