Crash (Cronenberg, 1996)


Cronenberg’s singular aesthetic is never more present than in the tense meanderings of the broken psyches on display, scars and flesh resembling the damage and body of the machines that first caused their psycho-pathological conflation of sexual expression and mechanical generation. As usual, Cronenberg flirts with notions of mechanized humanity, this time boldly—perhaps prophetically—linking technical and physical reproduction. A world of its own, he invites the viewer to enter the psychological reality inhabited by the performers, each of whom are bonded by an exacting discovery of self, of being and flesh. A superbly provocative and daring venture into elements of life otherwise unknown.

90/100 – Amazing

5 Stars


About Kamran Ahmed

I have a Masters in Cinema Studies from the University of Toronto. I work as a freelance writer and film critic in Vancouver. My writing is primarily distributed through Next Projection, an online film journal based in Toronto.
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