IMDb > Exotica (1994)
Exotica
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Exotica (1994) More at IMDbPro »

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Exotica -- Trailer

Overview

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Director:
Writer:
Atom Egoyan (writer)
Contact:
View company contact information for Exotica on IMDbPro.
Release Date:
3 March 1995 (USA) See more »
Genre:
Tagline:
In a world of temptation, obsession is the deadliest desire.
Plot:
The 'Exotica' is a nightclub on the outskirts of Toronto, where Eric, DJ and MC, watches nightly as his ex-girlfriend Christina performs... See more » | Full synopsis »
Plot Keywords:
Awards:
14 wins & 10 nominations See more »
User Reviews:
The Taboo of Human Contact See more (77 total) »

Cast

  (in credits order) (verified as complete)
David Hemblen ... Inspector
Calvin Green ... Customs Officer

Don McKellar ... Thomas
Peter Krantz ... Man in taxi

Mia Kirshner ... Christina

Arsinée Khanjian ... Zoe

Elias Koteas ... Eric

Bruce Greenwood ... Francis

Damon D'Oliveira ... Man at opera

Sarah Polley ... Tracey

Victor Garber ... Harold
Jack Blum ... Scalper
Billy Merasty ... Man at opera
Ken McDougall ... Doorman
rest of cast listed alphabetically:

Maury Chaykin ... Exotica Club Client (uncredited)
C.J. Fidler ... Exotica Club dancer (uncredited)
Nadine Ramkisson ... Exotica Club dancer (uncredited)

Directed by
Atom Egoyan 
 
Writing credits
Atom Egoyan (writer)

Produced by
Atom Egoyan .... producer
Camelia Frieberg .... producer
David J. Webb .... associate producer (as David Webb)
Robert Lantos .... executive producer (uncredited)
Robert Lantos .... producer (uncredited)
 
Original Music by
Mychael Danna 
 
Cinematography by
Paul Sarossy (director of photography)
 
Film Editing by
Susan Shipton 
 
Production Design by
Linda Del Rosario 
Richard Paris 
 
Art Direction by
Linda Del Rosario (uncredited)
Richard Paris (uncredited)
 
Costume Design by
Linda Muir 
 
Makeup Department
Sylvain Cournoyer .... assistant makeup artist (as Sylvain Cornouyer)
Nicole Demers .... makeup artist
Alison Ethier .... tattoo artist
David Harron .... assistant makeup artist (as David Harrison)
Debra Johnson .... hair design
Neville Ling .... assistant hair designer (as Neville Ying)
Mary Monforte .... assistant makeup artist
Tony Ouellette .... assistant hair designer
 
Production Management
Sandra Cunningham .... production manager
Roberta Pazdro .... assistant production manager
 
Second Unit Director or Assistant Director
Fergus Barnes .... second assistant director
Michele Rakich .... third assistant director
Mary Sylwester .... trainee assistant director
David J. Webb .... assistant director (as David Webb)
 
Art Department
Robert Allistar Brown .... set labour
Garth Brunt .... set dresser
Kathleen Climie .... assistant art director
Linda Del Rosario .... set dresser
Terry Hess .... construction
Mark Hunter .... set props
Anthony A. Ianni .... art department trainee (as Tony Ianni)
Brent Kelly .... lead set dresser
Zachery Kelly .... set labour (as Zachary Kelly)
Bill Koon .... scenic painter
Doug McCullough .... lead set dresser
Peter Miskimmin .... props
Ian Nothnagel .... set labour
Richard Paris .... set dresser
Paul Potvin .... props assistant
Keith Reaume .... set labour
Art Verhoeven .... construction
Stephen Willetts .... scenic painter (as Steven Willets)
Peter Emmink .... carpenter (uncredited)
 
Sound Department
Tyler Allen .... sound trainee
Sue Conley .... dialogue editor
Keith Elliott .... sound re-recording mixer
Paul Germann .... assistant: Trackworks
James A. Gore .... foley assistant
Peter Kelly .... sound re-recording mixer
Andy Malcolm .... foley artist
Peter Melnychuk .... boom operator
Steve Munro .... sound designer (as Steven Munro)
Daniel Pellerin .... sound re-recording mixer
Ross Redfern .... sound recordist
Paul Shikata .... assistant sound editor
Tony Van den Akker .... foley recordist (as Tony Van Den Akker)
Peter Winninger .... adr editor
 
Special Effects by
Michael Kavanagh .... special effects supervisor (as Michael Kavonaugh)
 
Visual Effects by
Jason Giberson .... digital restoration artist
Paul Intson .... digital editor
 
Stunts
Ted Hanlan .... stunt coordinator (as Ted Hanlon)
 
Camera and Electrical Department
Cynthia Barlow .... key grip
Paul Boucher .... focus puller
David Crone .... Steadicam operator
Johnnie Eisen .... still photographer
Irwin Figueira .... best boy grip
Harper Forbes .... fourth grip
Reni Hoz .... clapper/loader
George Kerr .... electric
Roscoe Kerr .... best boy electric
Michael Kulas .... third grip (as Mike Kulas)
Joseph Micomonaco .... camera trainee
David Owen .... gaffer
David Patrick .... electric
David Plank .... focus puller
Anthony Ramsey .... electric (as Tony Ramsey)
Franco Tata .... electric (as Frank Tata)
Mark Willis .... second unit camera
John Crockford .... electric (uncredited)
 
Casting Department
Scott Mansfield .... extras casting
 
Costume and Wardrobe Department
Cori Burchell .... wardrobe assistant
Sidney Sproule .... wardrobe mistress (as Sydney Sproule)
 
Editorial Department
Chris Hinton .... film timer
Margaret Malandruccolo .... editing trainee
Jamie Phelan .... editing trainee
Paul Shikata .... first assistant editor
Wiebke von Carolsfeld .... second assistant editor (as Wiebke Von Carollsfeld)
 
Music Department
David Bottrill .... music mixer
Paul Intson .... digital editor
Paul Intson .... musician: bass guitar
Harrison Kennedy .... vocals
Ron Korb .... musician: flute
Rakesh Kumar .... vocals
Adel Saab .... musician: tambourine
Kamil Saab .... musician: darabukha (as Kamal Saab)
Nabil Saab .... musician: oud
Sambhaji .... musician: shehnai
Paul Shikata .... music editor
Ameene Shishakly .... musician: clarinet
Annie Szamosi .... vocals
Hovhanness Tarpinian .... musician: tar
Garo Tchaliguian .... vocals
David Bottrill .... music track engineer (uncredited)
 
Transportation Department
Al MacNeil .... driver
Evan Siegel .... transportation coordinator
Andres Vosu .... driver
 
Other crew
Hussain Amarshi .... assistant to producers
Carolynne Bell .... assistant coordinator: prep
Carolynne Bell .... craft service
Shirley Granger .... production accountant
Victoria Harding .... location manager
Joanne T. Harwood .... script supervisor (as Joanne Harwood)
James Howard .... production assistant
Martyn Krys .... production lawyer
Helen Lee .... director observer
Claudia Moore .... dance choreographer
Jeff Nelson .... location production assistant (as Jeffrey Nelson)
Rebecca Ruddle .... office production assistant
Celeste Sansreget .... craft service (as Celeste Sansregret)
Roland Schlimme .... production coordinator
Pam Simons .... office production assistant
Virginia Smart .... production assistant
Simone Urdl .... assistant to director
Simone Urdl .... unit publicist
Greg Van Alstyne .... title design
Eardley Wilmot .... assistant location manager
 
Thanks
Deirdre Bowen .... the producers would like to thank
Robert Lantos .... special thanks
 

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
MPAA:
Rated R for some sexuality and language
Runtime:
103 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Filming Locations:

Did You Know?

Trivia:
Elias Koteas's first scene has him speaking into a microphone to the clients in the Exotica club. Koteas' first scene in Crash (1996) has him talking into a microphone to an equally selective audience (although the circumstances are different).See more »
Goofs:
Continuity: The cuts on Francis's face change size & shape throughout the movie after he gets thrown out of Exotica.See more »
Quotes:
Zoe:What is this thing about Eric calling you "a sassy piece of jailbait"?
Christina:What's this thing?
Zoe:It bothers me.
Christina:Why?
Zoe:It makes you out like a child or something.
Christina:Unlike the tartan skirt and my socks or the blouse or the way I act, right?
See more »
Movie Connections:
Featured in Plan B (2005)See more »
Soundtrack:
Je vous priSee more »

FAQ

This FAQ is empty. Add the first question.
61 out of 78 people found the following review useful.
The Taboo of Human Contact, 2 April 2001
Author: Patrick Carr (carrpl@sbu.edu) from Olean, NY

'Exotica' is clearly Egoyan's best film and his most successful presentation of the motifs that have characterized his films throughout his career; these include the presentation of the narrative out of chronological order, the interaction of characters by means of videotape and hidden surveillance, the relationship between parent and child, and the repetition of situation and dialogue. The film's theme involves the superficial barriers-both physical and psychological-that prevent people from making a genuine emotional connection with others; as we watch the film we witness how various people react to these barriers and struggle to break them down. The film's strong emphasis on structure and focus on Thomas' and Francis' parallel 'hunts' for human contact can't help but remind of that masterpiece of medieval literature 'Sir Gawain and the Green Knight' (this is a work that Egoyan was born to adapt to the screen). In my opinion each of the film's six major characters parallels another to compile three pairs. The first pair of characters is composed of Thomas and Zoe. The most obvious similarity between these two is that each owns one of the film's two principle locations. Thomas' pet store and Zoë's strip-club are comparable in that both are businesses whose principle merchandise is living creatures that are excessively displayed so as to persuade the customer to make a purchase. Moreover, while the pet store is lined with glass cages and fish-tanks, the walls of the strip-club are composed of two-way mirrors through which employees can secretly observe the customers. In addition to the life that each openly sells, both also possess hidden life. We see this in Zoë by the fact that she is very pregnant, but must disguise her appearance so as not to remind customers of the possible consequences of the lecherous behavior that her club encourages. Likewise, in the film's first scenes we see that Thomas is pregnant in a different way. Here, he is smuggling exotic bird eggs into the country by strapping the eggs to his stomach in order to hide them from Canadian customs officials. This hidden life also extends to their introverted personalities. To combat their inability to communicate verbally, both try to make interpersonal connections by means of physical contact. In a sense, then, Thomas and Zoë (as the Greek origin of her name might suggest) are givers of life both openly in their businesses and privately in their interaction with others. Next, Francis and Eric are parallel characters because of their mutual obsessions with Christina. Although Christina is intended to be seen as a sex object, neither Francis nor Eric has any interest in her in this regard. Instead, she symbolizes an emotional relationship that both once had, but now have lost. When they eventually discover their real relationship, Francis and Eric find that they do not need Christina and make an emotional bond with each other, which is symbolized by a physical embrace. Lastly, Christina and Tracey can be associated because Francis considers both as symbols of his dead daughter. However, Francis' relationships with Christina and Tracey both fail because he is unable to develop bonds that go beyond their assigned roles as a stripper and babysitter. Therefore, while Zoë and Thomas can be seen as givers of life, Christina and Tracey clearly receive life by taking on the roles that Francis and Eric impose on them. There are also many reoccuring images and symbols that reinforce the emotional isolation of the characters. The use of secret surveillance by two-way mirrors serves both as an invisible yet uncrossable boundary between people who would otherwise be very close to one another and as a way for the characters to make private judgments of those who are being unwittingly observed. In fact, while Eric secretly observes and judges Francis during his nights at Exotica, Francis, because of this job as an auditor, does the same to Thomas during the day. Egoyan reminds us that this relationship can ultimately be extended to include the audience members, who also make private judgments of the film's characters (we've this before in films like Hitchcock's 'Rear Window' and Powell's 'Peeping Tom'). As we watch the film, we too are in a sense reaching out to forge an emotional connection that transcends the barrier of the medium itself. The film's overriding presence of money suggests to the characters that the only legitimate grounds for a relationship is financial, and any time an emotional connection is made the characters feel guilty if they are not paying for it. Finally, the frequent appearance of parrots and their uncharacteristic silence reflects the characters' inability to communicate and overcome the losses of their past. I've really grown to admire this film and Egoyan's work in general. In 'Exotica' he creates a work of complex symmetry and interconnecting symbols while also conveying an atmosphere of lyrical intensity.

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