One million years in the future, humans have grown complacent and lazy after constructing a race of human-looking androids, called Fleshapoids, to satisfy their every desire. However, one Fleshapoid, Xar (Bob Cowan), has had enough of being treated like a slave, so he attacks and kills his human mistress.Exhibiting human emotions, Xar runs away to be with a female Fleshapoid, Malenka (Maren Thomas), whom he’s fallen in love with.
Malenka serves the pampered Prince Gianbeno (George Kuchar) and his unsatisfied wife, Princess Vivianna (Donna Kerness). As Xar and Malenka pursue their secret affair in Gianbeno’s castle, Vivianna plans to run away with her own lover, Ernie (Julius Middleman). Gianbeno attempts to stop his cheating wife, but runs afoul of Xar who still has a taste for human blood.
Inspired by comic books, Sins of the Fleshapoids has a soundtrack made up of old movie songs and narration by star Bob Cowan, but all of the dialogue between the characters is represented by word balloons printed directly on the screen. —Mike Everleth
Mike Kuchar (born August 31, 1942, New York City) defined the low-budget, high-camp/pop aesthetic for subsequent auteurs such as Andy Warhol, John Waters, and David Lynch. Raised in the Bronx, he made his first films as a teenager in the 1950s with his twin brother George Kuchar and participated in New York’s underground film scene in the 1960s. In addition to making his own films, Mike has collaborated with a number of important artists including Rosa von Praunheim, Marc Arthur and Kembra Pfahler. Mike divided his time between New York City and his brother’s San Francisco apartment until 2007 when he moved to San Francisco permanently.
His most famous film is the campy 1965 sci-fi classic Sins of the Fleshapoids, available on DVD from Other Cinema.
It Came From Kuchar, a documentary film of the life of George and Mike Kuchar by Jennifer Kroot, premiered at the South by Southwest Film Festival on 14 March 2009.
The Kuchar brothers collaborated… read more
This is terrific. It's not just trash art but meta-verite-trash-art, because we get trippy handpainted sets and what is clearly someone's house in one exterior; we get glamourpusses and drab affectless wannabes in a single cast (or performer); and we get real sci-fi costume romance and that hip 60s radical feel all in one mise en scene. And it's fun and happy.