Quick Read
- Andrzej Żuławski’s 1981 film ‘Possession’ explores the emotional devastation of a failing marriage through surreal and horrifying imagery.
- The film features a woman’s affair with a tentacled creature, blending psychological drama with grotesque horror.
- Isabelle Adjani’s intense performance earned her accolades, but the role took a personal toll.
- ‘Possession’ has polarized audiences, being both celebrated as a masterpiece and banned as a ‘video nasty.’
- The film remains a cult classic, inviting endless interpretations and discussions.
Andrzej Żuławski’s 1981 film Possession is a cinematic enigma that has baffled and mesmerized audiences for decades. Described by Żuławski himself as “a very true-to-life autobiographical story,” the film delves into the unraveling of a marriage in a manner that is both visceral and surreal. At the same time, it ventures into the realm of the grotesque, earning its place as one of the most unforgettable—and polarizing—films of its time.
The Story Behind the Chaos
Set in the hauntingly sterile yet decaying landscape of 1980s West Berlin, Possession begins with Mark (Sam Neill), a spy, returning home to find his wife Anna (Isabelle Adjani) seeking a divorce. Anna’s erratic behavior and confessions of an affair with the eccentric Heinrich (Heinz Bennent) set the stage for a narrative that spirals into emotional and physical chaos. Yet, as Inkl notes, the film’s true pivot occurs when Mark discovers Anna’s real “lover”: a horrifying, tentacled creature hidden in a decrepit apartment.
Żuławski, reeling from his own marital collapse at the time, poured his personal anguish into the film. This raw emotional core is paired with unsettling visuals and a narrative that defies conventional logic, creating a cinematic experience that oscillates between psychological drama and outright horror. As Mark and Anna’s arguments escalate into frenzied violence, the film captures the emotional devastation of a relationship’s disintegration.
A Cinematic Puzzle
Critics and viewers alike have debated the film’s meaning for years. Is it a metaphor for the dehumanizing effects of divorce, or does it explore deeper existential fears? According to Żuławski, the film is “about a woman who fucks with an octopus,” but its layered storytelling suggests much more. As Inkl highlights, the film’s dialogue is stilted and disjointed, reminiscent of the works of David Lynch and David Cronenberg. Even time itself seems to lose coherence, with unexplained lapses adding to the film’s surreal atmosphere.
Adding to the intrigue is the film’s visual style, which juxtaposes the eerie cleanliness of West Berlin with its decaying interiors. The Berlin Wall looms in the background, a silent witness to the turmoil within Mark and Anna’s lives. Special effects artist Carlo Rambaldi, known for creating the titular creature in E.T., designed Anna’s monstrous lover, blending horror and fascination in equal measure.
The Performances That Defined It
Sam Neill and Isabelle Adjani deliver performances that are as fearless as they are harrowing. Neill, reflecting on the film, called it “the most extreme film I have ever made in every respect.” Meanwhile, Adjani’s portrayal of Anna earned her the Best Actress award at Cannes but came at a personal cost. Her now-iconic scene in the subway tunnel, where she screams and convulses in an almost inhuman display of anguish, reportedly left her emotionally bruised. In interviews, Adjani has described the film as an experience that could only be undertaken in youth, given its intense demands.
The film’s polarizing nature extends to its reception. It was both celebrated and condemned, banned in the UK as a “video nasty” while gaining acclaim for its artistic audacity. British critic Mark Kermode noted that screenings of the film have been known to provoke fainting spells among viewers, a testament to its visceral impact.
Legacy and Interpretation
Over the years, Possession has become a cult classic, its enigmatic narrative and bold visual style continuing to captivate and confound. While Żuławski’s true intentions may have died with him, the film invites endless interpretation. Is it a scathing critique of male inadequacy, a deeply misogynistic work, or both? Is it about the alienation of modern relationships, or simply a surreal horror about a woman and her monstrous lover? The answers remain elusive, but the questions ensure the film’s enduring legacy.
Possession is currently available for streaming on Prime Video in Australia, the UK, and the US, allowing a new generation of viewers to experience its haunting brilliance.
Whether you view it as a psychological exploration or a surreal nightmare, Possession remains a film that defies categorization and lingers in the mind long after the credits roll.