34 user 29 critic

Suture (1993)

Not Rated | | Drama, Thriller | 24 August 1994 (France)
After his brother tries to kill him, a man survives only to find himself in another man's body.

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2 wins & 6 nominations. See more awards »


Cast overview, first billed only:
Clay Arlington
Dr. Max Shinoda
Alice Jameson
Vincent Towers
Lt. Weismann
Mrs. Lucerne
Sidney Callahan
Dr. Fuller (as Sandy Gibbons)
Mark DeMichele ...
Detective Joe
Nurse Stevens (as Sandra Lafferty)
Capri Darling ...
Ticket Agent
Laura Groppe ...
Mel Coleman ...


Brothers Vincent (rich) and Clay (poor) meet up for the first time after their father's funeral and remark on how similar they look. But unknown to Clay, who thinks his life is taking a turn for the better, Vince is actually plotting to kill him with a car bomb and pass the corpse off as his own, planning to start a new life elsewhere with his father's inheritance. But Clay survives the blast and has his face, memory and identity restored in hospital... but are they the right ones? Written by Michael Brooke <michael@everyman.demon.co.uk>

Plot Summary | Add Synopsis


A thriller where nothing is black and white.


Drama | Thriller


Not Rated | See all certifications »

Parents Guide:





Release Date:

24 August 1994 (France)  »

Also Known As:

Sutura  »

Filming Locations:


Box Office


$102,780 (USA)

Company Credits

Production Co:

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Technical Specs


Sound Mix:

Aspect Ratio:

2.35 : 1
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Did You Know?


Directorial debut of both Scott McGehee and David Siegel. See more »


Referenced in Landline (2017) See more »


String Quartet No. 82 Op. 77 Allegro Moderato
By Joseph Haydn
Performed by Hungarian String Quartet
Courtesy of Promusic, Inc.
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User Reviews

Less Hitchcock, and more in the vein of John Frankenheimer
18 January 2017 | by See all my reviews

Suture is a wry, if overly self-conscious, and relatively amusing rumination on race, subjectivity (of the Cartesian variety, and its attendant mind-body dualism), class mobility, and perhaps to a lesser extent, the American criminal justice system.

Comparisons to Hitchcock are misguided, as Suture better resembles, if pays homage to, John Frankenheimer's classic Seconds (1966). Yet whereas the latter explores fickle desire as constitutive of subjectivity as its protagonist transforms from beleaguered banker to artist playboy (a lateral move in terms of class), Suture considers subjectivity's more social aspects. It plays with filmic conventions such as black-and-white imagery and period costumes and scenery as denoting the past, while providing us with the central conceit of a race-blind society (mirroring perhaps our 'post-racial' one?) The difficulty or discomforting level of dissonance required to accept the film's premise, and the implications such a conceit has for the film's characters, is perhaps itself the 'message' of the film.

I'd recommend a triple feature, watching first Seconds, then Suture, then the documentary 13th.

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