ERRORS OF THE HUMAN BODY

Germany/US, 2012, 101 minutes, Colour.
Michael Eklund, Katherine Herfuth, Tomas Lamarquis, Rik Mayall.
Directed by Eron Sheean.

The era laws of the human body might be described as bizarre. It is a science-fiction film about genetics and experimentation.

The film was directed by Enron Sheean who spent six years as an artist in residence at the Max Planck molecular institute in Dresden, in the former East Germany. By working with the scientists, looking at their experiments and their plans, he devised this drama, this melodrama, about a scientist who goes to Germany to develop a process whereby organs can be reproduced. He is wracked by personal guilt with the disease of his son and the alienation of his wife.

All seems initially well. But the audience is probably suspicious with this kind of institute, the laboratories, the eerie corridors, the lighting, and suspect there is something amiss.

And they are correct. The scientists, possibly becoming paranoid, suspects a conspiracy amongst his fellow-scientists. He enlists the help of one colleague, is suspicious of a mother, has interviews with the head of the institute period. However, the film begins to have some touches of the horror genre when the scientist himself is infected adversely by what he was developing. It can be developed for good or for ill.

The film maintains its atmosphere, audiences wary of the laboratories, wrote that the film, with some visual ugliness with the infection of the scientist.

Michael Eklund, the serial killer in the call with Halle berry, is the scientist. Surprisingly, comedian Rick mayall appears as the head of the institute.

A curiosity item, intriguing.

1. The impact of the film? Science-fiction? Temporary issues of science, medicine, research? Issues of mutants? Horror touches?

2. The director, Australian background, going to Germany, six years at the institute in Dresden, his visual art residency? This having an impact on screenplay and his direction? The developments of science in Europe and the west? Beyond? Universal message?

3. The Max Planck Molecular Institute? Dresden? The background of East Germany and the overtones of the communist era?

4. Genetic science, the 20th and 21st centuries, genes, mutations, reconstructing organs, change and development, for good or for ill?

5. The title, the tone, the physical focus, the indication of errors and mistakes?

6. The Dresden setting, East Germany, the laboratories, the institute, the variety of rooms, the experimental rooms, storage rooms, the corridors, offices?

7. The visual style of the film, the blend of the real and surreal The score?

8. The focus on Geoff Burton, as a character in himself, meeting him at the institute, in the laboratories? As a scientist? His career? His motivations? The gene issue? The flashbacks to his family, his son, the son’s illness, tissues, experiments? Alienation from his wife? His ambitions?

9. This kind of research and its potential for good, for healing, regeneration of organs? This kind of research for Ill, secrecy, mutations, gene management?

10. The head of the institute, his type, manner, interviews with Geoff, the discussions, his aims, Geoff’s reactions?

11. Geoff’s colleagues, Rebekka, her collaboration? Jarek and his sinister look, approach, confrontation with Geoff? The colleagues
and the story of data, stealing it, Geoff and his searches, their ambitions, differences, belief in the research or not? Conspiracy?

12. The plots and pursuit of the villain, stealing, sharing, the dangers, using the material?

13. Geoff becoming the victim, the effect of the research, visually, the mutation, his becoming monstrous?

14. This kind of science-fiction, science film as a contemporary fable? As a warning to provoke response about research and the need for accountability and limits?