Obsession

Ocho Equis

Au-delà de la pastiche ou de l'hommage à Hitchcock ce film en forme de catharsis explore les thèmes préférés de De palma avec une force et un équilibre sûr. Les acteurs sont superbes et Geneviéve Bujold magnifique !

azoulay

Il y a une formidable intensité Geneviève Bujold y est vibrante et limpide et Clift Roberson , un psycho rigide inquiétant. Tout concoure à nous troubler, Florence la somptueuse et l'artistique devient une ville étrange.De Palma est un maitre et la construction du film est implaquable. Les regards des acteurs y sont plus puissants que tous les effets spéciaux!

Addy K.

Great artists don't borrow, they steal. Conceived by Schrader and De Palma after a late night screening of VERTIGO, this is more than just homage. OBSESSION exposes their lifelong predilections and is an early indicator of the filmmakers' artistic bluster. Vilmos Zsigmond’s cinematography and Bernard Herrmann’s score help keep the fragile truce between love and insanity, as tenderness deforms into kinkiness and back.

Duncan Gray

It's impossible, or at least ill-advised, to review this without mentioning Vertigo, since Obsession borrows not only the general plot, themes, and structure, but certain scenes as well (not to mention Bernard Herrman, who can turn anything dreamlike). But it rises above a mere homage thanks to De Palma's visual artistry and a weirdly compelling Freudian case study on different kinds of love.

Sudipto Basu

A cautionary tale on why it is essential to go to the movies. You see, had Michael Courtland frequented movie theatres in 1958 he'd have seen a nifty little mystery film called Vertigo and figured out in 1976 that the whole wife-coming-back angle was a con job. Granted it hadn't topped Sight & Sound till '72. Still, tells you something about the profits of being even an average Joe movie buff.

Zachary George Najarian-Najafi

Vintage DePalma. It's a male gazey, Hitchcock imitation, pulpy thriller that displays his usual obsession with doubles and doppelgangers of the female variety. Plenty of suspense and kinetic visuals. Surprisingly less bloody than the usual DePalma fare, but no less lurid and thrilling. The whole incest angle predates Oldboy quite nicely.

Pierluigi Puccini

Vastly underrated Vertigo revisiting. Beautifully shot by Vilmos Zsigmond, haunting score by the great Bernard Herrmann. The ultimate De Palma homage to Hitchcock, ending up in a truly heartbreaking way.

Elena G.

De Palma's misinterpreted impersonation of Hitchcock is very annoying. He wouldn't be good if directing like himself, but at least he would be genuine.