After surviving a brutal car wreck, commercial director James Ballard finds himself slowly descending into a fetishistic underworld of scarred, omnisexual car-crash victims who find metallic collisions a sexual turn-on and a jolting life force they come to crave.
“It ranks up there as one of the Canadian master’s most hypnotic exercises in pure style, its point of view established through disquieting sound design…, creepily clinical close-ups of seat-belt sashes, and eerily flat line deliveries… Cronenberg’s movies develop tension through an internal conflict between the visceral and the clinical; this one tips all the way into the former, creating an alienating quasi-thriller that isn’t quite like any other movie around.” – AV Club
“A masterpiece of the highest order, equal in stature to The Fly (1986) in Cronenberg’s brilliant and ever evolving career… Much of its texture and detail emphasises a constant, niggling, inescapable sensation of erotic stimulation experienced by all the characters – few films have given such palpable, insistent force to the turned-on gaze, the apprehension of another person’s body nearby, the moment when someone’s hand slides between one’s legs …” – FilmCritic.com
“Almost as pared down and purified as late Bresson, Cronenberg’s Crash focuses on half a dozen individuals who aren’t so much characters as separate versions, aspects, or stages of the same character; all are car-crash veterans and most have sex with most of the others.” – Reader
“…This is why I think the movie, like the book, is a masterpiece. No other film has broached this enormous subject, that of how the modern life we live is controlled by the privilege of independent transport, shaped by the mechanical/technological extensions of the car, and wounded by the holocaust of damage this cultural ascension has produced.” – Sundance Now
- 11/8 | 7:30PM