Jasper Verhorevoort

Hull, England, 1970. In a run-down commune in a tough port city, a group of social misfits - mostly working class, mostly self-educated - adopted new identities and began making simple street theater under the name COUM Transmissions. Their playful performances gradually gave way to work that dealt openly with sex, pornography, and violence. COUM lived on the edges of society, surviving on meager resources, finding fellowship with others marginalized by the mainstream. At the core of the group were two artists, Genesis Breyer P-Orridge and Cosey Fanni Tutti. As their work evolved, Cosey embarked on a career modeling for pornographic magazines, which she claimed for herself as a conceptual artwork, using it to forge a specific position in relationship to 1970s feminism. In performances, Genesis pushed himself to extremes, testing the limits of the human body.

1945年、第二次世界大戦末期の東部戦線。ある密命を受けたソ連軍の偵察部隊がカメラを携えた記録係を伴い、ナチス・ドイツの占領地域へと向かう。やがて一行は、古びた教会で謎の大虐殺が行われた現場に遭遇、さらにその地下で不気味な施設を発見する。そこは、禁断の実験に取り憑かれたフランケンシュタインの末裔であるナチスのマッドサイエンティスト、ヴィクター・フランケンシュタイン博士が最終兵器として死体と機械を合体させ、不死身の“武器人間”を製造している秘密工場であった。