See, this is the kind of s**t that happens when y’all don’t embrace post-nut clarity. “Ka-chow.”
There is nothing sexier than bringing upon a cosmic disaster that could miserably change the course of your entire life just so you can soak in a moment of pleasure, to risk it all for a sweet release. Is this what makes humans lethal? Does sex become so boring that we’re prone to deviate it eventually? In Crash, action scenes documenting car chases become foreplay. Maybe a decimated car to the film is just a metaphor for the farthest kind of things we’re capable of fantasizing over when sex controls the mind. But that’s the beauty and horror of it David Cronenberg says, that’s the beauty and horror of how much power sex gives as it convinces us to avoid all thought, all logic, and all means of understanding and to rather just feel it, allowing it to enhance our lives by making lesser sense of it. The more it gives though, the more we want to live in it with every single second of our lives, ultimately doubling and doubling the endangerment of those who surround us.
Cronenberg has shot Crash so creatively in this vibrance of radical seduction he calls cinema, with every human or mechanical movement, background texture, performative frame, and day-to-day sound that are deliberately amplified made to feel as if they’re all a part of this 140 minute shag act, like that riveting, gruesome Body and Blood (2014) music video by musical duo clipping.. Tempting sexuality experimentations, imprisoned car washes, and hole… improvisations, oh my! Any image is a gateway! As the movie goes along, the plot and characters become more and more meandering and wordless, lost in a drift of daring feats, waiting for doom, just as obsession is meant to seem like: a transformation into society’s self-feeding monsters who become more uncontrollable by the fault.
Cars and humans, we aren’t so different after all? Machines:
Verdict: A+
“Crash” is now available to purchase from The Criterion Collection.
Burning the Celluloid 
Published by