Crash (Paul Haggis, 2005) follows a range of diverse but intersecting characters who, in their entirety, are meant to represent a social landscape: modern American urban existence. Through an ensemble cast and a multi-story structure, the film depicts a circuitous society in which one part affects other parts that, in turn, affect all parts.

The film is structured by means of three entangled, sometimes complementary, sometimes competing, cultural discourses. The first discourse is race. In a deeply troubling way, race is most overtly what the film is “about.” In the world of the film, virtually every character is at some point explicitly racist. Additionally, in certain subplots, racial discourse is inextricably intertwined with gender.