Possession isn’t just a monster picture. It’s a marital drama, a tainted romance, a black comedy, an oblique espionage thriller and a psychotronic allegory that unfolds at an absurdly, even farcical pace. Before watching it again recently, following its director’s death from cancer at the age of 75, I had forgotten just how funny the film is. Bleak, yes, but with an all-out commitment to well-timed sight gags that makes the whole thing endearing.
March 12, 2016