Possession

Possession ★★★★

Breakup movies never stop giving. Blending Cronenberg’s body horror universe with the arthouse, Possession marks a midnight movie mutation of various genres and moods, made all the wilder by two demented central performances from Isabelle Adjani and Sam Neil. Take Krzysztof Kieślowski’s knack for the camera, inject it with the hysteria of Roman Polanski’s Repulsion, blend that with the parameters of 80s techno-horror and this is the result. There are some clumsy beats here and there, and it almost feels as if Andrzej Żuławski isn’t 100% sure on what he’s saying, but that’s all part of the charm. I saw this in a packed theatre on a Friday night, so you can only imagine the sheer volume of cultist cackles and cries emanating from the audience. In light of this, it’s doubtful I grasped every conceivable aspect of the film, but in hindsight, I’m not entirely sure one needs to. It goes without saying, but Adjani’s performance is nothing short of revelatory, and loud enough to break through the babble of any lifelong horror fan or drunken film student. This thing really is a scatterbrained riot — a welcome bag of challenging questions leading to very few answers. If there’s one thing Possession is telling us quite conclusively, though, it’s that marriage is a bitch.

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