Accident is Harold Pinter's 1967 dramatic film adaptation of the 1965 novel by Nicholas Mosley. Directed by Joseph Losey, it is the second of three collaborations between Pinter and Losey, the others being The Servant (1963) and The Go-Between (1970). At the 1967 Cannes Film Festival it won the award for Grand Prix Spécial du Jury..

The story centers on a married Oxford professor, Stephen, who is experiencing a mid-life crisis. The world changes for him when he meets Anna, a beautiful young co-ed who is engaged to one of his students, William. Following a car accident outside Stephen's home in which William is killed and Anna is severely disoriented, she is obliged to remain with Stephen although his wife is out of town. The events preceding the accident are told in flashbacks: While Stephen believes that he is orchestrating a tryst with Anna that will leave both his wife and William in the dark, he soon discovers that Anna is playing a game of her own.

The crowning metaphor of the film comes at a point in one of the flashbacks when we see a dazed but unhurt Anna crushing her dying fiancé beneath her high-heeled shoe as she steps on his face while trying desperately to climb out of the overturned car.

An accident or mishap is an unforeseen and unplanned event or circumstance, often with lack of intention or necessity. It usually implies a generally negative outcome which may have been avoided or prevented had circumstances leading up to the accident been recognized, and acted upon, prior to its occurrence.

Experts in the field of injury prevention avoid use of the term 'accident' to describe events that cause injury in an attempt to highlight the predictable and preventable nature of most injuries. Such incidents are viewed from the perspective of epidemiology - predictable and preventable. Preferred words are more descriptive of the event itself, rather than of its unintended nature (e.g., collision, drowning, fall, etc.)

Accidents of particularly common types (crashing of automobiles, events causing fire, etc.) are investigated to identify how to avoid them in the future. This is sometimes called root cause analysis, but does not generally apply to accidents that cannot be deterministically predicted. A root cause of an uncommon and purely random accident may never be identified, and thus future similar accidents remain "accidental."

The year 1967 in film involved some significant events. It is widely considered as one of the most ground-breaking years in film^{[citation needed]}.

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U.S.A. unless stated

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A film, also called a movie or motion picture, is a series of still or moving images. It is produced by recording photographic images with cameras, or by creating images using animation techniques or visual effects. The process of filmmaking has developed into an art form and industry.

Films are cultural artifacts created by specific cultures, which reflect those cultures, and, in turn, affect them. Film is considered to be an important art form, a source of popular entertainment and a powerful method for educating – or indoctrinating – citizens. The visual elements of cinema give motion pictures a universal power of communication. Some films have become popular worldwide attractions by using dubbing or subtitles that translate the dialogue into the language of the viewer.

Films are made up of a series of individual images called frames. When these images are shown rapidly in succession, a viewer has the illusion that motion is occurring. The viewer cannot see the flickering between frames due to an effect known as persistence of vision, whereby the eye retains a visual image for a fraction of a second after the source has been removed. Viewers perceive motion due to a psychological effect called beta movement.

Alain Resnais (French pronunciation: [alɛ̃ ʁɛnɛ]; born 3 June 1922) is a French film director whose career has extended over more than six decades. After training as a film editor in the mid-1940s, he went on to direct a number of short films which included Nuit et Brouillard (Night and Fog) (1955), an influential documentary about the Nazi concentration camps.

He began making feature films in the late 1950s and consolidated his early reputation with Hiroshima mon amour (1959), L'Année dernière à Marienbad (Last Year in Marienbad) (1961), and Muriel (1963), all of which adopted unconventional narrative techniques to deal with themes of troubled memory and the imagined past. These films were contemporary with, and associated with, the French New Wave or nouvelle vague, though Resnais did not regard himself as being fully part of that movement. He had closer links to the 'Left Bank group' of authors and filmmakers who shared a commitment to modernism and an interest in left-wing politics. He also established a regular practice of working on his films in collaboration with writers usually unconnected with the cinema, such as Marguerite Duras, Alain Robbe-Grillet and Jorge Semprún.