During a secretive business trip away, Mark learns that his wife Anna is growing restless in what he believed was their happy marriage. Upon his return home, he learns from her that she ... See full summary »
Three key moments, all of them sensual, define Ana's life. Her carnal search sways between reality and colored fantasies becoming more and more oppressive. A black laced hand prevents her ... See full summary »
Charlotte Eugène Guibeaud,
This erotic horror film, set in 1905, tells the story of a thief who seeks refuge in a castle owned by two women, Eva (Brigitte Lahaie) and Elizabeth (Franca Mai). The women are seductive ... See full summary »
In Spain, the former Nazi doctor Klaus tries to commit suicide jumping off the roof of his manor. However, he survives with the entire body paralyzed and dependable of an iron lung with ... See full summary »
During a secretive business trip away, Mark learns that his wife Anna is growing restless in what he believed was their happy marriage. Upon his return home, he learns from her that she wants a divorce. They both go through a series of different emotions related to their situation, Mark's which is generally obsessive about learning why Anna, who he still loves, wants the divorce, and Anna's which is generally increasingly histrionic in getting away from Mark. Caught in the middle is their infant son Bob, who Mark uses as a gage to Anna's mental state. Anna states that her want for the divorce is not because of another man, but Mark finds out that Anna has a lover named Heinrich. In the meantime, Mark also meets Bob's teacher Helen, who looks exactly like Anna, but is her polar opposite in temperament. Starting a relationship with Helen lessens his obsession with Anna. But as Mark and Anna's encounters together reach more emotional and violent levels, Mark, with help of a private ... Written by
I think that Possession is one of the most effective horror films ever made.
I've read mixed reactions to Possession. I think that this is because the writer/director intentionally introduces dozens of narrative ambiguities. There are many unanswered questions, and the viewer is placed in a position where she/he must become a creative participant by answering these questions for themselves. Audiences are by and large uncomfortable with this type of thing, but luckily I've seen a lot of experimental/unusual cinema, so I'm acclimated to it.
Isabelle Adjani is glorious in a dual role (which is a reversal of the Bunuel mindgame from 'That Obscure Object of Desire'--Instead of two actresses playing a single character, there is a single actress playing two characters.)
Adjani and Sam Neill's enacting of a horribly troubled marriage is spectacular. Heinz Bennet's distasteful character would give anyone the creeps. When Adjani is seen in the company of a terrible Lovecraftian monster, it's almost a relief after the awful domestic situations depicted earlier in the film. (I also appreciate how the monster is very tastefully seen only in fleeting segments.)
Everyone is right--Find the Japanese cut of this film. It has Japanese subtitles, but it is much more comprehensible with 40 more minutes of footage.
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