In a desperate bid to solve a string of brutal murders, ex-detective Fisher embarks on a twisted game of cat and mouse. He teams up with Osbourne, a criminology expert turned writer, who's developed an unorthodox method for understanding the minds of serial killers. As Fisher delves deeper into this dark art, his own grip on reality begins to slip, blurring the lines between hunter and prey.
Does The Element of Crime have end credit scenes?
No!
The Element of Crime does not have end credit scenes.
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66
Metascore
6.4
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User Score
6.7 /10
IMDb Rating
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Who plays the character of detective Fisher?
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As detective Fisher, played by Esmond Knight, reclines on a timeworn leather couch in the gritty depths of Cairo, the fog of his troubled psyche slowly begins to clear under the influence of hypnosis. His subconscious reveals buried truths, offering glimpses into the horrific memories of his last case—a harrowing investigation into a series of young girls torn from their homes and tragically victimized by the notorious “Lotto Murderer.” The Europe that materializes in Fisher’s dreamlike exploration is a dismal dystopia, enveloped in a permanent twilight.
As he plunges deeper into his own mind, anguished recollections resurface: he recalls Kramer, the weary police chief, who enlisted his expertise to locate the fiend responsible for the heinous crimes. He also thinks of Osborne, his disgraced mentor, who left behind a cryptic trail that intertwined with the book titled “The Element of Crime.” Fisher’s fixation intensifies as he meticulously studies the book’s offbeat techniques, which resonate eerily with the grim realities of his case.
At the core of this dark narrative lies Harry Grey, a murderer whose history mirrored that of Fisher’s current adversary, only to meet a tragic end in a catastrophic event. Accompanying Fisher on this hazardous voyage is Kim, portrayed by Me Me Lai, a complicated prostitute whose fate intertwines with Grey’s life in both surprising and unsettling manners. As Fisher descends further into the mind of the “Lotto Murderer,” he begins to mirror the descent into madness, causing the boundaries between hunter and hunted to blur.
In this haunting exploration, Osborne’s spectral voice offers a daunting realization: by embracing the darkness that lies within, both mentor and mentee have, in fact, become active participants in the very evil they endeavored to obliterate. The film reaches its climax with Fisher, ensnared in his own subconscious, resembling a fragile creature yearning for liberation from the hypnotist’s hold—yet all he hears in response is the haunting silence of his waking nightmare.
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