Cronenberg crash torrent

This means that they often feel relieved once they catch HIV, so they can cease worrying about it and really throw themselves into their addiction. But once you have unsafe sex, you want to have it again, and if you no longer fear HIV, you are free to make a fetish of unsafe sex with HIV positive people.

Indeed, even though most of the couples are male-female, I think Crash is really about homosexual men, for the simple reason that practically every sex act in the film is from behind. This interpretation throws a lot of light on the end of the movie. Vaughan has died. James buys the car in which he died and gets it running again. Then he runs Catherine off the road.

Her car goes down an embankment and flips. She is thrown out of the car. James rushes to her side and asks if she is hurt. Although dazed and bloody, she says that she is all right. Gotta see the movie now. Downloading it via bit-torrent.

Really great analysis. Im not sure if you ever covered Empire of The Sun? I have just finished the short story Highrise which is I think is ripe for discussion regarding current events in our circles. It is a jewish film with the usual grotesque and unhealthy qualities. There is nothing else to be said about it. It IS Jewish, but insofar as most of us fast-living city dwellers live quasi-Jewish lifestyles, the film is also a good commentary on modern civilization itself, as ugly as it often is.

It has been years, if not decades, since I have read the book or watched the film. However, I think that the film is an analysis of the sexual fetish as such, that all sexual fetishes point to death rather than the renewal of life. The erotic charge experienced by the fetishist is not centered on vaginal or anal sex, but in and through some obsessive act or repeated encounter that bypasses or circumvents or displaces sex tout court.

In short, the film has nothing to do with homosexual promiscuity or AIDS, but rather concerns heterosexual perversion — non-phallic sex — which is rampant and under-reported, but evidenced by our birth rates.

Great analysis, Greg. One question I have is whether there is another, parallel or complementary, interpretation that could be gleaned, and which would be equally plausible? Granted, your critique focuses on the film not the novel but the two are sufficiently close, I think, to ask the same questions of both.

Could it also be the case that what explains the sexual fetishization of car crashes—or rather, what Ballard is trying to draw attention to—is the dangerous non-rationality, maybe even the irrationality, of human sexual behavior and desire? On first glance that connection might seem arbitrary or simplistic but Ballard and Cronenberg to a degree consistently depicts modern machines as erotic. To be sure, sleek, shiny, fast cars are sexy to some, but even more important they are intended by designers and producers to elicit desire and erotic investment.

In so doing, I think, it reveals via the grotesque the frightening extent to which our sexuality tends toward anthropomorphic perversity, excess, self-destruction, and death. For that very reason, it also helps disclose the extent to which that anthropomorphism is an indelible aspect of the human-created technical world.

The youth, using vehicles literally provided by the establishment, take the town apart when their existence is under threat. Still, he was playing a pervert that got his rocks off by crashing into cars filled with young women. Pretty good, but the iast segment is so boring, watching it with a USA friend, I said that the last part is poor, it would have worked much better with Deaththproof wlping out the second party, only then being wiped out himself..

USA friend is for some reason hating zombie movies, so watching the companion piece, Planet Terror, from a hotel room one or two weeks later,. I am thinking, excepting the great performance by Kurt Russell in the first half of Deathproof ruined by the ending , Planet Terror is the better film.. Of course, the film is probably more true to life, as any AIDS sufferer or regretful tranny would attest.

Oh, hit the wrong button. So, being tired, stopping here. Ballard himself said it was mainly true, except that he was interned with his parents. That helps the novel, but also gives the director a chance for a giant Spielburger cue heavenly choir at first sight of immaculately dressed mother.

The strength of the novel is in its asentimality. I was checking youtube. In a way, that is as it should be, Tukamoto was not a rich man at the time, at all, doubt he is very much wealthy now, even after intenational prizes for later films. Tetsuo is a masterpiece, really to recommending it. Almost a wordless movie. As said, to me, it is more like Crash the novel than the Cronenburger. First and only time to seeing Crash real one, not the unrelated copy of the title, never seen overseas, it was on a double with the boring lesbian bondage film, Bound.

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September 12, at am. Greg Johnson says:. Duane Parsons says:. September 12, at pm. Matthias says:. Dominique Nuit says:. Peter Quint says:. September 13, at am.

Ethan says:. September 14, at am. Che Guava says:. September 20, at pm. JD says:. September 14, at pm. September 18, at pm. September 19, at am. Log in. Email or Username. Remember me. I suppose anything is possible and such people may exist, but CRASH takes it one step further and suggests that there is this cult of individuals who somehow network to fulfill their fantasies of motorized mayhem.

Two such characters are played by Holly Hunter and James Spader. In a most grotesque parody of "meeting cute" the two encounter each other when he crosses the center line and smashes head-on into her car, killing her husband and apparently getting her hot and bothered in the process.

Hunter's Helen is already into smashup sex, so, after a stay in the hospital, the grieving widow naturally rushes Spader -- playing James Ballard, the author of the original novel -- into her small band of bumper car aficionados. In addition to being wreck 'n' roll fanatics, the people must also be incredibly rich. They like to recreate infamous celebrity auto accidents, such as James Dean's roadside death. For instance, to do so, they have to buy or recreate not only a replica of Dean's rare Porsche Spyder, but also an almost equally rare Ford coupe that was the other car involved in the crash.

With these and a variety of other new and used cars, we're talking about thousands, perhaps hundreds of thousands of dollars for autos destined to be demolished in the name of foreplay. Talk about expensive quickies. A couple of tickets to a demolition derby would be far more economical -- and a virtual orgy.

Of course, the film isn't really about auto eroticism; it is about sexual obsession in general. The fetish in question could have been about anything that inspires abnormal lust. The characters could have been turned on by, say, internet porn, gambling, bungee jumping, farm animals or jiggling Jell-O molds. But, gosh darn it, car wrecks are so much more photogenic. It doesn't seem to bother the filmmakers that they are perpetuating a correlation between sex and violence, because, well, they apparently believe such a link already exists.

Nor do they seem to be aware that they are undermining their own efforts by building an oh-so serious drama around a ludicrously grim and lame joke. As such, the insipidness of the story is accentuated by the pomposity of the storytelling. Other than a few lapses, the film is cold and lifeless and empty; though it is somewhat appropriate that a film celebrating a sexual obsession with automobiles would depict sex as an utterly mechanical act. Cronenberg and crew do slip up a couple of times and inspire moments worthy of laughing out loud.

One scene in particular is hilarious: Hunter and several others are lounging around watching videos of auto crash tests like they are watching porn videos; One particularly messy smash up prompts Hunter to excitedly demand that it be shown again in slow motion.

Crash dummies watching crash dummies, as it were. There is an unwritten rule of movie sex: If films featuring explicit sex are fun and comic, then it is pornographic; but if the sex is joyless, degrading and dispassionate, then it is art -- or, sex as something good is dirty; sex as something bad is honest. It is this simplistic, neo-puritanical attitude that makes films like CRASH so insultingly hypocritical: Make a big deal about filming graphic, lurid sex scenes, then condescendingly shake one's finger at the audience to remind them how perverse such activity is.

It's like slipping an alcoholic a drink in order to self-righteously chastise him for being a drunk. Had the filmmakers shucked the smug moralizing and openly played the material as sly satire, perhaps CRASH could have been a sharp commentary on modern romance, both between people and with their cars -- speeding as flirtation, road rage as rape, reckless driving as masturbation, the head-on collision as the one night stand; marriage as the aftermath of roadside carnage.

But I don't think the film has the courage or the intellect to explore such themes. The film plays it safe, giving us a tale of obsession where the obsession is devoid of the thrill, the energy or the naughtiness of actually giving in to an impulse.

It's an addiction without a high, but worse no expectation of there being a high. Here is a film that wants us to identify with a psychological quirk that is, to say the least, ridiculous, but it doesn't even make the effort to frame the quirk in a realistic fashion.

How are we to care one way or the other -- emotionally, dramatically, socially or even clinically -- about people the film itself seems to regard as emotionally dead freaks?

CRASH thinks it is speeding recklessly down uncharted roads, but it is up on blocks, spinning its wheels and destined for the junkyard. FAQ 1. What are the differences between the R-Rated cut and the NC version of the movie? Details Edit. Release date March 21, United States. Canada United Kingdom. English Swedish. Toronto, Ontario, Canada. Box office Edit. Technical specs Edit. Runtime 1 hour 40 minutes. Related news. Dec 24 Slash Film. Dec 11 HeyUGuys.

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