Possession

1981

Action / Drama / Horror

14
IMDb Rating 7.4 10 15434

Synopsis


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June 28, 2016 at 09:58 AM

Cast

Sam Neill as Mark
Isabelle Adjani as Anna / Helen
720p 1080p
896.57 MB
1280*720
English
R
23.976 fps
2hr 4 min
P/S 8 / 20
1.87 GB
1920*1080
English
R
23.976 fps
2hr 4 min
P/S 2 / 13

Movie Reviews

Reviewed by Yoooooofffff 10 / 10

Like nothing you have EVER seen before

I'm not very good at plot synopsis, and I very rarely write reviews, but this film could quite possibly be a distant cousin to David Lynchs 'Eraserhead', in that it involves a marriage gone wrong, a (perhaps) mutant baby, infidelity, and so much more that is felt emotionally rather than explained and read into.

It contains the most OTT, eccentric, and brilliant performances I've ever seen, and you can't say that about many films, where the performances are unique and different. There's serious acting, hammy acting, B movie acting, serious/Oscar winning acting, comical acting, silent film acting, but never any acting like you have seen in this film. And I guess you could include David Lynch acting, as thats pretty unique too. And of course method acting.

Its like watching a theatrical play in cinematic form on acid. A lot of acid.

I showed this to my friend who has the darkest possible taste in films I've ever known, owns over a thousand dvds, and even he was blown away by the sheer chaos, resonant imagery, beautifully swift camera work and photography, and of course, the performances. Most notably Isabella Adjani who manages to be sexy and scary as hell at the same time. Her performance in this is monumental, especially the often noted 'underground menstruation' scene which could induce some viewers to a panic attack. I certainly nearly had one when I watched the film for the first time.

When a character has a breakdown in this film (both of the leads) its a REAL breakdown. And boy, do you ever feel it. Its realistic yet surreal. God knows how the director managed to coax these types of performances out of his actors. He must of drugged them or hypnotized them or something. He certainly didn't just yell 'action'.

The way the scenes are cut together is highly unusual and unconventional but it makes absolute perfect sense. I don't know how, it just does. I'm unfamiliar with the directors other work but if its even half as good as this I'll order everything I can get of his.

Recommended to any open minded individual who likes films that draw attention to themselves with an utter sense of uniqueness.

Reviewed by Krug Stillo ([email protected]) 10 / 10

What an experience!!!

Acting, colour, camera movement and story thrown into hyperactivity…What do you get? Well, the headache inducing, enthralling Possession. Beautiful, erotic and extremely disturbing, Andrjez Zulawski's film (admired by the Italian Master of the Macabre himself, Dario Argento) is an extreme assault upon the senses.

Mark (played excellently and deliberately over-the-top by Sam Neil) returns home from secret government work to his wife in Berlin, cue many shots of the Berlin wall representing the couple's marital breakdown. However, Mark's wife, Anna (a truly unforgettable, no holds barred and hypnotic performance from the lovely Isabelle Adjani) is behaving inexcusably strangely. Mark finds out that she is having an affair with Heinrick (another crazy performance from Heinz Bennet) and confronts him only to find that the lover has not seen Anna for some time. This is the part of the rollercoaster ride before your cart

plummets into some real thought-provoking, unsettling and scary surrealism.

Possession is definitely the film that requires many subsequent viewings. Excellent performances that frequently go way OTT, dreamily fluid camerawork and migraine inducing metaphorical horror, this is a true beast of the imagination. Love it or hate it, it is a true original masterpiece that is definitely not for all tastes. If films were placed in boxes and divided by flavours, like crisps, POSSESSION would sit in a box entirely by its self, awaiting only those who can take it. Go into it with an open mind like you've never gone into a film with one before. It can seriously mentally damage you if you try and figure it all out on that initial viewing, so beware; if there is truly anything to work out. The now infamous miscarriage in the subway scene is confusing, painful and sickening to watch and nothing like it can be found elsewhere. This is a hell of a film, if you're prepared for it!

`This for me exceeds anything thrown up by The Exorcist for sheer impact on the nervous system.' David Thompson - Sight and Sound

Reviewed by Alice Liddel ([email protected]) 7 / 10

Harrowing portrait of a disintegrating marriage.

Imagine Bergman's 'Scenes From a Marriage' filmed by Dario Argento using Kubrick's 'Shining' steadicam. I can't pretend to have actually UNDERSTOOD this intellectually rigorous horror film, but I do know that it is arguably the most beautiful film of the 1980s, that ugliest of cinematic decades.

The chief source of this beauty is Zulawski's camerawork, unsettling, spacious, constantly mobile, it achieves the kind of elaborate shots you normally expect with cumbersome, expensive equipment with the nimbleness of a handheld camera. Static scenes in repetitive milieux are subjected to awesomely complex movements, as the camera encircles, tracks, reveals, blocks, opens up space, creating a narrative that never stands still, offering us different, usually startling viewpoints within the one scene.

What is most remarkable is its transformation of scale - the film is set in Cold-War Berlin, a famously constricted city; the plot takes place mostly in inhumanly modern apartments or on streets, and yet the sense of size, scale, space is as monumental as a Fordian Western. This is apt for characters who are simultaneously confined and alienated by their environment. Even scenes of flamboyant repulsiveness, the puling monster mounting Isabella Adjani, Mark's lavatorial dispatch of Heinrich, have a clarity of composition that is simply breathtaking.

Unlike most horror films, which open with images of normality against which to measure the transgression of terror, 'Possession' hurls us into its relentless unpleasantness in medias res. Zulawski opens at full speed and never lets up. Mark in his car looks out at a city he hasn't seen for some time as if it is an alien land, full of troubling images, including an iron cross. Anna rushes to meet him. We assume they are husband and wife, reuniting, but their talk if full of exasperated dislocation. Mark has apparently come home too early. They have a son; after making love, their post-coital talk is full of Antonionian misunderstanding, uncertainty, alienation, cruelty.

These scenes create the mood of the whole film. 'Possession' is shot in English with a French lead by a Polish director. The dialogue has a stilted quality, like a translation from some lost original; this sense of not-quite-rightness extends to the acting, and the scenes themselves, which seem too mannered, too abrupt, too stylised to seem natural. This sense of the drama being at one remove from some original 'reality' is perfect for a film about alienation - people alienated from themselves, each other, their marriage, their home, even their identity.

The horror that constitutes the film obviously has its roots in the female hysteria (one scene in a subway, remembered by Anna, has her miscarry, as she pours out blood and milk, the essence of her femaleness spilling from her; the toilet scene between Heinrich and Mark has a gynaecological terror similar to Argento's 'Suspiria') and male bestiality that cannot be hidden by affluent modernity, but this, on its most basic level, is a harrowing portrait of a failed marriage, horribly truthful to anyone who has even rejoiced in that institution.

All the while we are constantly reminded of the contemporary political reality - Mark's espionage (or is he an assassin?) activities; the wired Berlin wall with its faceless surveillance guards (a divided city, a divided marriage, literally divided people, the whore and the madonna). The film has a lot of talk about faith, chance, God, good and evil, but its true power is recognisably more mundane, yet more unaccountably wrenching than that. One should not overlook the comic sense that flickers through the film, the exaggeration of scenes by prolonging them (the restaurant scene), and the Franju-like waltz-of-death music.

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