Bored me to tears. I love Deneuve and loved the cinematography, but so many scenes were dragged out. The actors did their best, but the director just kept on filming and the cheap surprises fitted in nowhere. Style over substance. Had elements of Giallo and Hammer, but I seriously felt like this is a film I've seen a thousand times already. Anyway, yeah. I hated it.
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.
the plot of this rather overrated little film is too laughable to sustain immersion in the scenario, the treatment of "insanity" grossly philistine...what saves this movie is the many instances of sheer shocks and shudders, and if i may say so, the soundtrack & visuals deserve the lion's share of credit for making this movie watchable...but, the tenant and rosemary's baby were much better...
Perhaps Deneuve could stand to rewatch her own film. Could one come away with a different take on the violence of unwanted advances? Sadly yes, and consequently I'm yet to be moved by this (only by Polanski's use of space & confinement). Its characterisation a bit clinical or cruel, which might be its strength in not giving illness cause and effect, but I also see it prepped for ugly pleasures and interpretations.
If Alfred Hitchcock had ever made "Psycho" and changed the point of view from the victim to the killer's point of view I think the film would have looked something close to this one. Catherine Deneuve is excellent as both fragile and extremely dangerous in a performance that captivates from the first second. It has some captivating shots of surrealism, terror, gruesomeness and beauty in it.
Tengo mucho qué decir sobre esta película, pero me gustaría hacer unas investigaciones primero. Esta película es increíble, el horror se va formando por distintos elementos en efecto bola de nieve. Como feminista, el film me afectó mucho, sobre todo después de conocer sobre los cargos presentados hacia Polanski. Esta película es sin duda de estudio sociológico. Polanski me causa repulsión, pero amo esta película.
3-4. As unromantic a take on Cinderella as I've ever seen, it feels like we know a touch too little about our heroine for all the time we spend inside her psyche. Granted, I greatly appreciate that the movie never languishes too long in Carol's psyche before more conflict pops up. But I can't say I think it's a whole lot greater than the sum of its parts. But it did remind me fondly of 'The Wind' and Lillian Gish.
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.)
It manages successfully to balance between linear storytelling and abstract filmmaking. So it offers concrete chronicle of the twisted mind while also allows diving into its abyss - interplay between sound editing and shadows concludes it as a pure psychological horror, worthy of its reputation.