![]() ![]() Hiring a private detective, Mark learns that Anna has rented a run-down apartment, and we learn that she keeps a creature there, a creature devoted to her pleasure…īut really, the meat of Possession isn’t in what happens but, shall we say, in how much it happens. ![]() Anna disappears in the night, but when Mark tries to find her at Heinrich’s, she isn’t there he forms a strange relationship with the very strange Heinrich. When she is home, she and Mark fight incessantly, in part over the responsibility for raising their son Bob (Michael Hogben).Īfter leaving them both to go on a bender, Mark returns to the apartment to find Bob unattended, and declares to Anna when she arrives that he will be taking charge of the apartment and Bob’s upbringing. She’s taken a lover named Heinrich (Heinz Bennent), and spends much time away from the family’s apartment, supposedly with Heinrich. The story has something to do with a man named Mark (Neill), involved in a shady line of work, who comes home from a business trip to find his marriage to Anna (Adjani) disintegrating. I compare Possession to gialli in part because, as in those films, the real point is not the story but the stimulation of the senses. ![]() Possession is widely considered a horror film, and does feature much bloodshed and a grotesque monster (courtesy of effects wizard Carlo Rambaldi), but nothing is more horrifying than Adjani and Neill plumbing the very real depths of the human soul. But there’s no doubting how this film uses emotion, how it presents the agony its characters go through, playing it at the highest possible pitch almost from the very beginning, making one’s jaw drop, not just at how much these characters make themselves and each other suffer, but at what Isabelle Adjani and Sam Neill had to go through in order to make it. I haven’t seen many gialli, so if that’s not quite accurate, I apologize. Partway through Possession, I came up with the quip that it uses emotion the way giallo films use blood. ![]()
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