Chaos, frenzy, hysteria, depression... any word that can describe the morbid can be used to describe this movie. For the first time, the Polish-style film seemed so different and detached. Poland has always produced great directors, profound and restrained, from Kielovski to Zulawski, it can be regarded as a symbol of that era. This film is Zulawsky's fourth film work, and it is also his only English work so far. It has been created for six years. Compared with the previous films, this film has the most international influence. The heroine Adjani Also with his unique style and avant-garde performance, he won the first time to win the film queen of Caesar.
The film is still exploring emotional solutions. It's just that the whole process is full of neurotic depression. The hero and heroine are so crazy, eager to vent, complain, and frantic all the time. Women leave men and children for unknown reasons, betray without life, and make peace with the monsters they raise, as if they are escaping reality, escaping pressure, indelible blurring, and venting after extreme depression. And men began to look for women, frantically harassing what they thought was the third party and the family of the third party, brutally rejecting any reason and consolation. When he finally discovers women and monsters, the mind is destroyed in the face of reality. And women's pleasures are slowly approaching the brink of collapse. The ending is violent, but it seems to be a relief, leaving the helpless hysteria before.
Actor Adjani still continues her characteristic crazy, post-hysterical melancholy style in the film. Whether it is compared with the previous "The Story of Adele Hugo" or the later "Rodin's Lover", the expressiveness is even better. The most terrifying scene appeared in the film, where she collapsed and abused herself in a long tunnel, tortured in pain, and vented in confusion, which resulted in a miscarriage. This 5-minute long shot is really unbearable for anyone.
The film is still a work with strong realism, inheriting the traditional Polish-French film characteristics, and incorporating psychedelic elements. Many people may attribute Zulawski's achievements to the many tacit cooperations between him and Sophie Marceau, at least those many cooperations have made a peerless beauty popular. But the work that really lets the world understand and affirm his directorial skills is undoubtedly the only cooperation with Adjani this time.
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