A brilliant surgeon, Dr. Génessier, helped by his assistant Louise, kidnaps nice young women. He removes their faces and tries to graft them onto the head on his beloved daughter Christiane... See full summary »
A young woman's quest for revenge against the people who kidnapped and tormented her as a child leads her and a friend, who is also a victim of child abuse, on a terrifying journey into a living hell of depravity.
A Belgian girl, Carol, works as a manicurist at a London beauty salon. While having lunch, a good looking young man, Colin, spots her and makes a date for another evening. She shares a flat with her sister Helen. Her sister's married lover, Michael, brings out her dislike of men which she cannot explain to Colin. Michael takes Helen abroad for a holiday. Left alone in their flat, Carol's moments of catalepsy and hallucination increase and deepen into madness. Written by
In his autobiography, Roman Polanski admitted that he and co-writer Gérard Brach came up with the film so as to have a commercial success which would then help them fund the making of Cul-de-sac (1966), a much more personal project for them. See more »
When Carol gets back home from work she takes off her shoes. A moment later, in the bathroom, she has them on her feet again. See more »
Catherine Deneuve suffers from an industrial-strength case of sexual repression
In "Repulsion" the gorgeous Catherine Deneuve suffers from an industrial-strength case of sexual repression, coupled with a hefty dose of sibling rivalry which foists upon her a succession of rape fantasies and delusional hallucinations. Polanski's direction is unparalleled as he elicits a creepy terror through the use of some fairly unconventional special-effects. The subjective world created for the heroine is a series of dreams and visions of a decaying apartment and psycho-sexual fantasy and this is what the film seems to be about. The cracking walls are perhaps one of the most ingeniously horrifying special-effects in cinematic history. The lack of dialogue that runs throughout complements the restrained narrative design as the neurotic obsessions remain largely unexplained. But for better or for worse, I think better, Polanski's final frame settles on an image which cryptically resolves the entire enigma with a kind of devastating efficiency. All in all, one of the great films of the 1960s.
68 of 96 people found this review helpful.
Was this review helpful to you?