Back in a still-divided, seemingly empty Berlin, high-level wheeler dealer Sam Neill returns to a marriage with Isabelle Adjani so suddenly rocky that he offers to go to a hotel. But though she claims not to have been unfaithful, there’s that soulful postcard from another man — and then it begins: the furniture-smashing restaurant argument, the extended binge, the confrontation with deceptively laid-back Heinz Bennent (The Last Metro), the matched kitchen knife cuttings, the meetings in the creepily empty and desolate secret apartment, the blood-spattered murders, the crash into the police car, the sex with the doppelgänger… and then there’s that Thing, courtesy of special effects maestro Carlo Rambaldi. Fantasized from Polish writer/director Zulawski’s own messy divorce, a Bergmanesque marriage duel escalated into the violent, the surreal and the bizarre. Incredibly intense performances from a pre-Jurassic Park Neill and Cannes and César Best Actress-awarded Adjani, highlighted by her three-minute freak-out in a deserted subway corridor.
Andrzej Zulawski was born on the territory of what was then the U.S.S.R. in a Polish family with remarkable traditions in arts and literature. After World War II, his father’s diplomatic career brought the family to France (1945-1949), Czechoslovakia (1949-1952), and finally to Poland. He studied film direction at IDHEC in Paris (1957-1959) and philosophy at both Warsaw University (1961) and Université de Paris (1962-1964).
First, he assisted the famous Polish director Andrzej Wajda during the filming of Samson (1961), Popioly (1966), and the Warsaw episode of L’Amour à Vingt Ans (1962). In 1967, Zulawski directed two short films, Piesn Triumfujacej Milosci and Pavoncello, for Polish TV.
His feature debut, Trzecia Czesc Nocy (1971), as well as those previous films were co-scripted by his father, poet Miroslaw Zulawski. The picture was well received at the Venice Film Festival and awarded as the Best Debut in its homeland, but had only limited release due to Polish censorship… read more
This is a movie that needs to be seen to be believed. The purposefully overwrought performances take a little getting used to, but Isabelle Adjani and Sam Neil's descent from high melodrama to body horror madness is mesmerizing, excellently crafted with superb fluid camerawork by writer-director Andrzej Zulawski, whose films I must see more of. Cult movie fans need to seek this one out.
Just finished rewatching this (thanks TCM); forgot how great Heinz Bennent is (especially when his proximity to the monster strikes him temporarily blind...). And, FYI, according to www.cinefamily.org/films/the-mad-unbelievable-genius-of-andrzej-zulawski/ there's a North American retrospective coming this year. Would that I could make it to LA...
Imagine some films about intense destructive marriages (The Shining, Antichrist, several Bergman films, etc.) and inject them with a shot of adrenaline. The demons are never lurking under the surface in this film, they are out and clutching at the hair and wrists, forcing everyone to dance to death.
In our annual poll, we pair our favorite new films of 2011 with older films seen in the same year to create fantastic double features.
“Divisiveness and duplicity are at the heart of Zulawski’s notorious cult film.”
He worked with Bergman, Truffaut, Schlöndorff and Żuławski.
Update: Sight & Sound's "The DVDs of 2010": "24 critics and curators choose their releases — and rediscoveries — of the year." "For
some spoilers ahead
Andrzej Żuławski’s Possession is both the most perfectly realized example of a horror film that I’ve ever seen (i.e. = most literally horrifying) AND one… read review
Funny, I don’t remember him being so bad in Omen III: The Final Conflict, but having watched John Carpenter’s In the Mouth of Madness and Andrzej Zulawski’s read review
I was a little let down with this one because I had heard so many great things about it. First off, Isabelle gave my new favorite performance by a female. Her acting in this is flawless and she catapulted… read review
A really good film, i think that is one of the best horror films i have ever seen. Really cold and with a nice camerawork, i liked a lot the when sam neil is on that interview with his bosses.
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