Un director de televisión intenta utilizar su adrenalina después de un accidente de coche para revitalizar la vida sexual con su mujer.Un director de televisión intenta utilizar su adrenalina después de un accidente de coche para revitalizar la vida sexual con su mujer.Un director de televisión intenta utilizar su adrenalina después de un accidente de coche para revitalizar la vida sexual con su mujer.
- Premios
- 9 premios ganados y 6 nominaciones en total
Deborah Kara Unger
- Catherine Ballard
- (as Deborah Unger)
David Cronenberg
- Auto Wreck Salesman
- (voz)
- (sin créditos)
Jordan-Patrick Marcantonio
- Man in Tattoo Parlor
- (sin créditos)
- Dirección
- Guionistas
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Argumento
¿Sabías que…?
- TriviaSex scenes between James Ballard and his secretary were filmed but cut because director David Cronenberg felt the actors' chemistry was too good, contravening the nature of all the other relationships in the film.
- ErroresAfter Vaughan repeatedly crashes the left front bumper of his Lincoln into a junker James Ballard is sitting in, causing major damage to the bumper and the lights, Vaughan is soon shown driving on the highway with no damage to the bumper and both left lights operational.
- Citas
[Last lines]
James Ballard: Katherine, are you all right?
Catherine Ballard: James. I don't know.
James Ballard: Are you Hurt?
Catherine Ballard: I think I'm all right...
[James starts groping and kissing her]
Catherine Ballard: ... I think I'm all right.
James Ballard: Maybe the next time, darling. Maybe the next time.
- Versiones alternativasAccording to Issue 58 of Film Ireland magazine, the Irish censors imposed 35s worth of dialogue cuts on the cinema release - this affected the sex scene where Catherine fantasizes about Vaughn to James. It's speculated this was actually done not due to the content, but to dissuade the distributors from submitting the uncut version on video (which could cause controversy in a less restricted environment) - however, all video releases are uncut and still rated 18.
- ConexionesFeatured in Late Review: Censorship and Cronenberg 's Crash (1996)
Opinión destacada
I love this film. I have now viewed it three times and I still keep getting something new out of each viewing.
I think it's one of Cronenberg's best. It is not, however, for the uninitiated. By that, I mean those who are not familiar with Cronenberg's previous work, and those who have not read J.G. Ballard, whose novel was the basis for this film.
Cronenberg excels at bringing difficult pieces of fiction to film. This is one such example.
The written works of J.G.Ballard are generally, dark, dreary, and disturbing psychological fiction. The characters in them are often very disturbed and socially dysfunctional. These are people who, often due to unusual circumstances, are not in their right minds.
In Crash, we are observing a group of characters who are all survivors of horrific car crashes. Like many crash survivors, they are, during their period of recovery, in shock. They are badly shaken. They are recovering from severe physical injuries, and they are disoriented, fearful, and emotionally numb.
Instead of recovering in the normal fashion, (how sad that we've come to think of auto accidents as normal) these characters stumble into the car crash cult of Vaughan. Vaughan, who is brilliantly portrayed by Elias Koteas, is a scientist who believes that there is a strong connection between the violence of a car crash and the passion of the sexual act.
He easily indoctrinates the other characters into his mode of behavior and beliefs. By staging car crashes for entertainment, by initiating traffic altercations with his followers and ultimately finishing with some very warped sex, usually involving cars, there is a metaphor being created. Accidents, and the viewing of them becomes foreplay. It's the eroticism of the automobile taken to an extreme.
Our society has had, what is often referred to as a "love affair" with the automobile. This love affair has resulted in a worldwide addiction to a means of transportation that is, in reality, often very unhealthy and destructive. Aside from the aftermath of pollution and the sheer carnage of the ever rising highway accident rate, this addiction also increases people's isolation from each other. Hidden in their private shells, they move about, only interacting with one another as necessary. This interaction rarely becomes intimate until it is violent, as in aggressive driving and accidents .
In Crash, the characters are all portrayed as cold hearted, numb, and incapable of true intimacy with each other(they sure have a lot of sex though). They are only capable of intimacy through their cars.
This film is a bizarre metaphor for the human condition and how it is affected by our choice of technology. It is not meant to make car crashes look sexy. It is meant to draw attention to how our most familiar technology has changed us and made us less human.
I love this film. Brilliant cast. Great cinematography. An excellent soundtrack by Howard Shore (multiple layers of cleanly played, very dissonant electric guitar, sounding like a cross between Sonic Youth and Brian Ruryk). Only Cronenberg would have the guts to tackle a subject as difficult as this particular work of Ballard's. I think he did quite well.
Depending on your mood at the time of viewing, this film can range from being shocking, amusing, revolting, hilarious, to even just plain boring. It's a great piece of art, but you really do have to be in the right mood for it.
I think it's one of Cronenberg's best. It is not, however, for the uninitiated. By that, I mean those who are not familiar with Cronenberg's previous work, and those who have not read J.G. Ballard, whose novel was the basis for this film.
Cronenberg excels at bringing difficult pieces of fiction to film. This is one such example.
The written works of J.G.Ballard are generally, dark, dreary, and disturbing psychological fiction. The characters in them are often very disturbed and socially dysfunctional. These are people who, often due to unusual circumstances, are not in their right minds.
In Crash, we are observing a group of characters who are all survivors of horrific car crashes. Like many crash survivors, they are, during their period of recovery, in shock. They are badly shaken. They are recovering from severe physical injuries, and they are disoriented, fearful, and emotionally numb.
Instead of recovering in the normal fashion, (how sad that we've come to think of auto accidents as normal) these characters stumble into the car crash cult of Vaughan. Vaughan, who is brilliantly portrayed by Elias Koteas, is a scientist who believes that there is a strong connection between the violence of a car crash and the passion of the sexual act.
He easily indoctrinates the other characters into his mode of behavior and beliefs. By staging car crashes for entertainment, by initiating traffic altercations with his followers and ultimately finishing with some very warped sex, usually involving cars, there is a metaphor being created. Accidents, and the viewing of them becomes foreplay. It's the eroticism of the automobile taken to an extreme.
Our society has had, what is often referred to as a "love affair" with the automobile. This love affair has resulted in a worldwide addiction to a means of transportation that is, in reality, often very unhealthy and destructive. Aside from the aftermath of pollution and the sheer carnage of the ever rising highway accident rate, this addiction also increases people's isolation from each other. Hidden in their private shells, they move about, only interacting with one another as necessary. This interaction rarely becomes intimate until it is violent, as in aggressive driving and accidents .
In Crash, the characters are all portrayed as cold hearted, numb, and incapable of true intimacy with each other(they sure have a lot of sex though). They are only capable of intimacy through their cars.
This film is a bizarre metaphor for the human condition and how it is affected by our choice of technology. It is not meant to make car crashes look sexy. It is meant to draw attention to how our most familiar technology has changed us and made us less human.
I love this film. Brilliant cast. Great cinematography. An excellent soundtrack by Howard Shore (multiple layers of cleanly played, very dissonant electric guitar, sounding like a cross between Sonic Youth and Brian Ruryk). Only Cronenberg would have the guts to tackle a subject as difficult as this particular work of Ballard's. I think he did quite well.
Depending on your mood at the time of viewing, this film can range from being shocking, amusing, revolting, hilarious, to even just plain boring. It's a great piece of art, but you really do have to be in the right mood for it.
- patrezzi
- 31 may 2004
- Enlace permanente
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Detalles
- Fecha de lanzamiento
- Países de origen
- Idiomas
- También se conoce como
- Crash: Extraños placeres
- Locaciones de filmación
- Productoras
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Presupuesto
- USD 9,000,000 (estimado)
- Total en EE. UU. y Canadá
- USD 2,664,812
- Fin de semana de estreno en EE. UU. y Canadá
- USD 738,339
- 6 oct 1996
- Total a nivel mundial
- USD 2,672,248
- Tiempo de ejecución1 hora 40 minutos
- Color
- Mezcla de sonido
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What is the streaming release date of Crash. Extraños placeres (1996) in India?
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