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Zulawski also apparently believes in the soundness of this apparently unsound philosophy. Though Neill makes googly eyes and swings precariously in his home's rocking chair, Adjani clearly is the better over-actor.
But don't worry, you'll be in good company, right alongside Sam Neill and Isabelle Adjani, the stars of Andrzej Zulawski's trippy, Strindberg-by-way-of-Cronenberg autopsy of a marriage on the skids.
Zulawski presents dialogue in the film's first 10 minutes as if we, the viewers, are voyeurs walking in on the film's subjects in mid-conversation. What's most confusing about this scenario is how normal Possession 's topsy-turvy events seem. But Mark and Anna weren't always like this. Don't mind the tentacled elephant in the room; he's just another symptom of the film's particular brand of madness. But when does the really crazy stuff come in, you ask?
Were you? Without the ability to trust each other, Mark and Anna both start to act out in their own ways. In the beginning of Possessionthey meet and try to explain to each other, in a relatively calm fashion, what's happening.
And like Strindberg, Zulawski represents relationships between men and women as being a matter of irrational human agency. If you get up to the part in Possession where you finally see it, you won't laugh at it. By that point, you'll be too estranged to care. New York. Now celebrating its 20th anniversary, an uncut print of Possession will screen at Film Forum for a week-long engagement. He acts like a hurt school boy, his eyes bulging as he looks for excuses to dismiss or think less of Anna.
Nobody but Mark notices Helen's resemblance to Anna and once he's made the connection, he never brings it up again, as if it were just an everyday occurrence. Heinrich subsequently recommends that Mark should "just accept Anna's ways The key being the infinitive: to accept.
Everyone in the film loses their minds, even Bob Michael HogbenMark and Anna's young son, who eventually dives into a drawn bathtub with all of his clothes on. After Heinrich tells Mark to accept things as they are, they have a cerebral but tellingly unhinged conversation about God, of all things, and they both agree that God is like a disease:. It's like they're reading ponderous textbooks when they're talking to each other and thus are only digesting a portion of the information they're receiving.
Anna, on the verge of tears, lies: "Not in this case.
Isablle adjani in possession ()
She has to be a benevolent know-nothing saint and a femme possessed, too--no mean feat. His faith in Mark and Heinrich's ramshackle pontificating is inexplicably confirmed by the film's aesthetic, especially the spasmodic way Possession was edited and shot. Only an agnostic could invent Possessiona film in which hysterical emotional breakdowns are complimented by or perhaps are the cause of? Even the comically aloof Heinrich Heinz Bennentthe man Anna cheated on Mark with, notices this aspect to Mark's post-break-up personality.
Adjani also has two roles to Neill's one: She also plays Helen, Bob's schoolteacher and a dead ringer for Anna. Then, hopefully, you accept what's happening to you as normal. You might know Possession as "that weird movie in which Isabelle Adjani has sex with a hideous monster. Continue to article content.
Adjani has to freak out on a totally separate histrionic plane than Neill does, like in the scene in which she screams while bashing her groceries around an empty subway tunnel or when she sobs in terror as she looks up at Christ on the cross while something, possibly Jesus, creeks and creeks and creeks. After this introductory segment, Mark and Anna lose the ability to communicate sensibly. And then you see the film for what it really is: a film-shaped virus.
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That's just it: In Possessionthe totally mundane is also totally crazy, and vice versa. Warning: watching Possession will probably make you feel like you're losing your mind. Just by watching Possessionyou, the viewer, go through a transitional period of denial, the kind that comes with any infection.
Heinrich and Mark's exchange also explains the deranged abandon with which Neill and Adjani tackle their respective roles.
And oh yeah, how about that evil tentacle-monster thing that Anna has shacked up with after she leaves both Mark and Heinrich? Share on Facebook Share on Twitter. Or, more accurately, how there's no normalizing character who is willing to ask, in a calm, rational manner, what exactly is going on.
Even the most innocent and naive have their breaking points, it seems. The camera frequently spins around objects several times or lurks around corners or dives under obstructions for no apparent reason. He's got a cocky lilt to his speech and it sounds like he enjoys having the upper hand in this conversation. The monster, which was deed by E. It's mired in filth and goop and sex and sin and confusion. Zulawski, like Swedish playwright August Strindberg before him, drew upon his real-life experiences going through a messy divorce. Zulawski, who directed and co-wrote the film, immerses us in the intense confusion and emotional tumult surrounding Mark and Anna Neill and Adjani after she tells him that she doesn't love him anymore.