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.
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.