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7.457 Bewertungen



Großbritannien, 1965
Drama, Horror, Thriller

Darum geht's

Die Französin Carol teilt mit ihrer Schwester Helen eine Wohnung in London und empfindet nichts als Ekel vor ihrer Umwelt. Als Helen verreist, spitzt sich Carols Verfassung zu – sie schließt sich ein und der Horror beginnt.

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Ekel Regie Roman Polanski

Auszeichnungen & Festivals

Berlin International Film Festival

1965 | 2 Gewinne unter anderem: FIPRESCI Prize

BAFTA Awards

1966 | Nominiert: Best British Cinematography (B/W)

New York Film Critics Circle Awards

1965 | Zweiter Platz: Best Director

1965 | Dritter Platz: Best Actress

Rosemary’s Baby" and “The Tenant” might have been conceivable alternates for my Roman Polanski slot, but for sheer sustained virtuosity, this Freudian free fall into one woman’s psychosexual madness is awfully hard to beat.
October 31, 2016
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Obviously perfect, in the sense of every shot having been meticulously organised; equally obviously problematic, in the sense that the camera lays siege to a passive, doll-like woman who’s perceived as a freak. Used to bother me slightly, but it all came together on second viewing – esp. the way Polanski gives the heroine her own secret space and the way all the male characters are hopelessly turned on by her passivity, the film acknowledging its own male gaze and finally breaking beyond it.
March 24, 2015
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The first film in English for both director Roman Polanski and star Catherine Deneuve, the still-terrifying Repulsion renders language and explanation nearly superfluous… Only his second movie, after the taut love-triangle drama Knife in the Water (1962), Polanski’s gripping study of a ravaged mind hints at, without excessively analyzing, the origins of its beautiful blond heroine’s unraveling.
October 31, 2012
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Was sagen Andere darüber?

  • Stefan Drees's rating of the film Ekel

    After watching it for the second time the film is still disturbing - especially if you listen to the strongly modelled, suggestive sound design with its dripping and floating water, ticking clocks, the intrusive ringings of telephone, door bell and chimes, the steps on the stairway the cracking of the walls and other sounds.

  • ASHES IN THE HOURGLASS's rating of the film Ekel

    My favorite Polanski thus far is reminiscent of Bergman's Persona both in it's cinematography and it's similar surreal horror. It also trails the path through which Cronenberg would build himself his whole career around. Honestly, as someone who has a habit of biting my nails since childhood (I'm biting them as I write this), it's impact was probably even more enhanced. Few films capture the body's fragility so well.

  • Huey McEvoy's rating of the film Ekel

    Polanski's love letter to Hitchcock - the title, the aloof blonde, the late period B&W - is an ultra low-budget, beatnik 'Psycho' (with a few sprinkles of 'Persona'), a claustrophic, misanthropic take on London's swinging sixties. (For those commenters questioning her motives, it's all there in that brilliant final shot.) (4.5)

  • Mitchell Corner's rating of the film Ekel

    Polanski became synonymous with what we describe as the "Horror of Apartments" sub-sub-Genre when he made 'Repulsion', 'Rosemary's Baby' and 'The Tenant' (his trilogy of the terror that comes psychologically in Apartment settings). With Repulsion Polanski crafts a tightly wound spiraling decent into madness as Deneuve gives one of her striking performances. The film is terrifying, plain and simple. You will jump.

  • Daniel S.'s rating of the film Ekel

    The hands in latex, the old woman with the little dog, the fat lady's chopped finger, the man in the mirror, nuns in black & white, flies over a dead rabbit's head, Deneuve's hair, Catherine's legs, Hendry in the water, the swelling apartment. An anthology of superb scenes. Masterpiece.

  • chanandre's rating of the film Ekel

    [Cinémathèque PT #64: 35 mm] Catherine Deneuve has a 50+ years film career - one tends to forget that.

  • Nicholas Gregory's rating of the film Ekel

    Repulsed by toxic masculinity and alienated by the urban rat race (shown VIA the sister and her rich boyfriend,) Repulsion is glacial, detached, and languid. Yet, the clinical passivity increasingly sucks you into a soulless vacuum until you reach an inner void. Emotionally powerful by being coldly emotional, it gets you feeling dead inside, like Deneuve's character. I'd compare it to the music of Joy Division.

  • FilmEdie's rating of the film Ekel

    Aesthetic/cinematic porn! In that sense, it's pretty ecstatic. Rhythm, pacing, cinematography... But the assumptions he seeks to undermine are a bit unsophisticated, aren't they? Like, easy prey? And the work is informed by and infused with its (his) own problematic world-view... (What if a Sweet Innocent Girl could be complex? Why, then she'd be out of control! The horror scenario of the patriarchy.)

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