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possession (1981) is the first and only English-language film directed. Andrzej ZulawskiDespite widespread praise, she was nominated for the Palme d’Or at Cannes and won Best Actress. Isabelle Adjani, it was unfairly vilified and demonized for reasons that were never made clear. This landed it on our “offensive videos” list.A place on this list could serve as a death sentence for movies, but seeking out these nasty films punished for their depictions of sex, gore, and violence has also become a badge of honor for horror fans. but i did possession Is it worthy of being on this list?It seems unfair to lump possession Along with some of the most notorious entries such as i spit on your grave (1978) and cannibal holocaust (1980). It may be a test of endurance, an emotional gut punch, and, by act three, an utterly insane ride into the depths of human despair, but it has a kindness and a throbbing under the slimy chaos. He has a gentle and easily wounded heart.
essentially, possession, is the story of a failed marriage. Anna and Mark (Sam Neill) are strangers to each other. When Mark returns to his Berlin apartment after a mysterious work assignment, Anna informs him that they are divorcing. So far, so ordinary, it’s the plot of thousands of movies. marriage story To blue valentineHowever, when Mark tries to clarify the reason for her request, it becomes clear that infidelity is the least of their problems. He responds by gripping her coattails more tightly. fall into. This dynamic inevitably reaches a boiling point, with Mark trying to hurt Anna, desperately needing her reaction, and Anna turning away from him in disgust.
As the film progresses, you’ll face many shocking scenes including knockdowns, dragouts, Anna and Mark’s fights, murders, sexual deviations, and more.It’s a disturbing film, but it’s also a work of art that refuses to conform to any categorization, often at the same time continuing to excite, disgust, and taunt audiences. possession The absence of so many films shows the physical, mental and psychological violence that comes from the breakdown of relationships. It reminds me of the depiction of a marriage that Hina (1979) from Body Horror Maestro David Cronenberg.
love in death pain
It doesn’t flinch in its depiction of death-stricken love. From, we can see that Anna is a woman on the edge, with wide-eyed eyes and a desperate energy. Her desire to free Mark from the strangling grip of their relationship is clear, but we don’t get to witness their marriage before Anna shatters it. It’s the real strength of this movie. Whether Mark is a bad husband, Anna is a devoted wife, or how long they have been together, we know nothing about their lives. All of this history is wiped clean with Anna’s decision to end it. When you decide to end it, it makes you realize that there is no point in sharing your history, your story, your life.
possession It also sticks to presenting the big picture of Mark and Anna’s selfishness. They are engulfed by their own emotions, their own desires. They have a young son, Bob, who is nothing more than a pawn in a sick game of bitterness and heartbreak. Mark attempts to use Bob to hurt Anna, appealing to her guilt and shame as a woman who puts her own pleasures above her duties as his wife and mother. Anna becomes engrossed in her own quest for self-discovery, and eventually Bob fades into her background. It’s clear how this dynamic influenced later films. antichristin tangled toxic dynamics Willem Dafoe When Charlotte Gainsbourg.
sex, slime, body horror
it is impossible to argue possession without discussion that scene. For the uninitiated, this scene is Anna’s emotional, physical, and even metaphysical breakdown in a subway tunnel. Staggering, she suddenly begins to break through the limits of her body and sanity. The eggs are crushed, screams ring deafeningly around the walls, and Anna eventually rolls on the ground, howling before beginning to expel viscous pus and blood from all orifices, leaving a bloody slime. culminating in a writhing spontaneous flood of liberation. It’s not hard to imagine that this scene was one of the reasons she caused such shocking outrage when the film was released. It’s disgusting, she’s mean, and the scene represents an absolute tearing of social boundaries. I understand. As she later explains, it was her faith that miscarried in that tunnel, and she had to defend it. It squirms in your arms, sweats, and becomes a sinister creature.
This scene is pivotal in representing a woman in terror. No subsequent incarnation of a fragile yet powerful woman would be conceivable without Adjani’s performance here. She surrenders completely to the chaos of the moment, and her ability to present the liberation that comes from breaking the social and moral chains that hold us together is compelling. Anna’s intense sexual relationship with a slimy, slithery creature was groundbreaking at the time and has not been widely replicated since. This is unfortunate, as it confronts individuals with violations of the normal boundaries of sex and sexuality.
allegorical monster
As in many horror movies, the events and characters possession It can be interpreted as allegorical. For example, consider Anna’s relationship with her creatures. This is a strange, incestuous union that defies both decency and sanity. Going back to her statement that she miscarried her faith, it was that faith she nurtured and nourished in her run-down, dilapidated apartment, her relationship with her creatures, and his ‘s final transformation of Mark into a doppelganger. , as a means of rewriting the past. Indeed, the use of doppelgangers for both Mark and Anna speaks to their desire to remake and reshape their lives. It becomes clear that it is designed to By leaving Bob in the care of their, admittedly sinister, counterpart, Anna and Mark make room for better-prepared parents. We also see that this attempt to get away from has serious consequences for both Bob and the world they have built. It’s an ending that serves as both a metaphor for the need for regeneration that arises.
Monster Woman, Danger to Humanity
Anna’s fragility is not an alien concept in horror. Her growing hysteria is reminiscent of the contagious level of fear Wendy displayed (Shelley Duvall) of Shiningand her thirst for violence as a means of feeling something in a world that requires numbness, Maggie GyllenhaalThe character of secretary (2002).However, Anna’s behavior disrupts the status quo in a way that she rejects the notions of patriarchy and misogyny that often dominate fear. A commitment to abandoning one’s life, and a feverish engagement with one’s desires, all act as a slap in the face of the prevailing social norms. possession It spoils the relationships between the characters. Mark’s real anger comes from his anger at being rejected by his wife. This is something he clearly thinks her wife has no right to do. Anna’s relationship with Heinrich is almost cartoonish in that she plays a sexual role, fueled by her indifference towards him, and reinforces the gender role. It is about revealing the ‘other men’ who stole, both through sexual jealousy and the idea that she belongs, and with them.
Anna’s indifference to these men is the first breakdown of misogyny in the film. After the violence, her grin and tear-stained face horrified him. How can you control a woman who has abandoned, or at least muffled, a voice of shame that tells her what she shouldn’t do?This is the true power of Anna’s character, and in discussions about the film, it is often said that Anna It’s fair to say that she’s one of the reasons she’s portrayed as nonchalant, improbable, and relationship improbable. Her choice to bombard a comfortable and easy life without the fear of women makes her the antithesis of the “good” woman, thus Anna is the “dangerous crazy woman” that misogynists fear. represents. Everyone around her sees this as a flaw in her character, a breakdown in her sanity.
possession It shows not only the relationship between Anna and Mark, but also the political and social divide set in 1980s Berlin. For Zulawski, it’s clear the film is a personal essay on heartbreak, divorced from her spouse and her native Poland. Berlin, still reeling from the aftermath of the 1940s, is a brutal landscape where the emotional turmoil of dying love can find an unhappy home amidst the gray concrete and radical divisions of its citizens. It’s a film way ahead of its time with resonating emotional turmoil and violent, sensory horror.That legacy lives on in films like midsommarWhen Ari Aster We’re citing that as an influence, and it’s nice to see it arrive at Shudder to seduce and torment another generation of viewers.
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