In any sense, it can be called a film with a destructive temperament.
Even after watching a lot of "strange" movies, Possession can still be jaw-dropping - Zulawski may be a hopeless avant-garde writer and postmodern dramatist, and perhaps his artistic tension will be more fascinating in these two mediums ——In his later years, he indeed turned more to the creation of literature and drama.
In the film, Anna made a deal with the devil, and by having sex with her, she gave birth to another monster, making it gradually grow into the exact same appearance as her husband Mark; perhaps the most direct "horror" comes from the possibility that the devil in the form of an octopus possesses. Horrible appearance. Along with watching, there are five pieces of paper to record the problem, but at the end, when the husband is riding a motorcycle in a deserted street, it can almost be concluded that the whole film is a kind of allegorical surreal presentation, so The so-called "clear logic" may not be so important. Every character is in some kind of abnormal state, Anna's "it doesn't hurt" after she mutilated herself with a chainsaw; a traveler who picks up Anna's bananas and eats them in a no-man's land; a man who shares a face with his wife Elementary school teacher; two male detectives in a cohabiting relationship; suffocating physical discipline and hysteria in ballet class; nightmarish humming in the face of Jesus statue; like the psychic mother of Heinrich; only to realize that the devil is coming The young son who kept howling "Don't open!" and drowned himself in the bathtub from behind the door... Not only Anna sacrificed herself to the devil, every character seemed to be possessed - the last century West Germany may be such an obsessed world.
Needless to say, Adjani's acting skills are absolutely crazy. Heinrich's mother is a small character worth thinking about. She not only asked Mark with a cross in hand, To cheat or to kill, which is worse?, but also told Mark by phone that the body of her dead child was still in the bar, but its soul was no longer alive. Then, the relationship between body & soul is raised.
The most impressive line is the dialogue between adulterer Heinrich and Mark:
H: There's nothing to fear, except God, whatever that means to you.
M: For me God is a disease.
H: That's why through disease we can reach God.
All the madness came to an end with the roar of cannonballs after the devil came, and the recurring Berlin Wall and the suggestion of Mark's identity as a member of the state's violent machine all lead the discussion of this work from marriage and love to religion. and the wider horizon of politics.
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