Crash (1996) Dir: David Cronenberg

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Some films have a unique reputation that baffles as much as it entices, and this erotic thriller, which was based on the 1973 book of the same name by J.G. Ballard, and was both directed and produced by David Cronenberg, is most assuredly one of those films. I, like many before me, no doubt, was drawn into watching the film because of its reputation. I wanted to know just how out there it really was, and, perhaps even more so, if it was actually that good, whether it was or wasn't as strange as it was reported as being.

This film exists in infamy because of its sensuality in relation to such an unusual and seemingly asexual topic. However, an erotic thriller, this most certainly is, and boy was it layered on thick. It was a very strange, but very intense, viewing experience. The soundtrack oozed lust and temptation, and further fueled the cinematic eroticism on the screen. In many respects, it was a sensory experience - the deliberacy and focus on the sensual actions in the film was impossible to look away from or ignore.

I am not, typically speaking, the most interested person when it comes to seeing eroticism on-screen, but I found the way that the film explored the interesting and often tabooed world of fetishes absolutely fascinating. I honestly did not expect to be as riveted and engaged with it as I was. I was highly captivated by the bizarre, yet enthralling, narrative, which dripped with hypersexuality, homoeroticism, and non-monogamous desire. Often I criticise films for overly sexualising their characters, but this was one of the few times where it felt both necessary and extremely effective.

It is not often that films highlight disabled people, let alone do so in such a way that not only makes them feel important and natural to the plot, but makes them obviously, unashamedly sexy in the process. This film did that more than any film I've seen combined, and it was exquisitely done. It might seem like an odd point to bring up, but I felt it was worthwhile pointing out anyway, because disabled people deserve to feel seen just as much as the rest of us.

James Spader typified the film's hot and mysterious nature, with a typically Spader-esque, quietly charismatic, performance. His eyes did so much of the storytelling, without seeming to do much at all. His interactions with his various co-stars were tantalising and incredibly interesting to watch. The man had an innate ability to make each of his actions feel strangely attractive, which was perfect for the film he was in.

Deborah Kara Unger embodied the film's essence, with an intensely lustful, magnetic, steamy performance. The way she dominated the screen was so impressive, as was the way she used her body to convey feeling, both physical and emotional. Holly Hunter's character evolution throughout the film was very effectively acted out, and seeing that play out throughout the film was very enjoyable.

I wasn't expecting Elias Koteas to provide as compelling and intriguing a performance as he did, but I am so glad that he was able to. His character was totally unique, and filled a very interesting and particular role in the film. Koteas portrayed the escalation in his character's mental state excellently, which made him feel even more unpredictable and unhinged. I would also like to give credit to Rosanna Arquette, who, despite a lot less screentime and dialogue, was able to make herself unforgettable, as she fully committed to the film's themes and events.

Overall, I don't quite know what I expected from this film, but I definitely wasn't expecting to love it as much as I did. It was a scintillating piece of cinema, which hooked me, thrilled me, and compelled me in a wildly unique way. I would never have thought that I'd say this, but I think this was one of the hottest films I've ever watched, and it was all thanks to the expert direction of Cronenberg, and the unwavering willingness to commit to his vision by the cast. This was truly a stellar and bewitching thriller.