Few directors would even dare touch a film about people that get aroused by seeing car crashes. One of them are David Cronenberg who can made sexy art out of even the worst tissue scars. In a way he is perfect for the film as he has already made films about cars before and strange sexual behavior. This is not a movie for everyone, but I found myself absorbed by the acting, beautiful cinematography and the sex.
Have you ever felt a death-like sensation when coming (ejaculating)? 'Crash' combines the perverted nature of the original sin – human sexuality – with capitalist alienation. And oh boy, well he does. Sex is mechanic, dangerous and penetrative just as a car crash is.
Captures the scientific languor of the novel, but not its hyper-realisation of ergonomics. I remember for a week after first reading the book back in sixth form I couldn't help but see the build environment and its objects as moulded around the average Teutonic human form and how limiting and warping that was upon both moral and aesthetic sensibilities. Cronenberg more purely interested in passionless pathology.
Has the same fetishistic, focused, intense repetition as the novel. Spader's Ballard stumbles upon a perverse subculture that subsumes and ultimately comes to define his sexuality. Cronenberg comprehends the cold, scaly, sexual inquiry that Ballard is engaged in. A cinematic provacateur with a clinical eye for detail takes on a writer who is part fantasist, part prophet. Pleasure, pain and sexualized machine merge.
Déjà le roman d'anticipation de J.G. Ballard irradiait de tous ses mots et ses douleurs cette expérience ultime de la jouissance extatique et funèbre avec un brio certain et une rare conviction. David Cronenberg la prolonge et la complémentarise visuellement, avec une feutrée et luisante efficacité. www.cinefiches.com
According to André Bazin and Jacques Rivette, there are two subjects in cinema that should only be approached in fear and shivering, in which its representation is automatically obscene: sex, and death. In Crash, David Cronenberg superimposes the beautiful and the macabre, pushing both of them into their tragic climax. It is his most disturbing film - which says a lot - but also his best directed.