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Possession

Possession

On the surface, the story is as follows: Mark (Sam Neill) returns from some sort of espionage escapade abroad, gives a report about "the man in pink socks" to his superiors, then goes home to his wife and child, only to find that the missus has not exactly been lonesome without him. Anna (Isabelle Adjani) wants a divorce and although she will not initially reveal why, super spy Mark hires a private detective who quickly tracks the usurping provocateur down. Mark goes to the flat forthwith has it out with him, but lover Heinrich (Heinz Bennent) doesn't go down without a fight and in fact makes short work of Mark, who slinks out and goes back to alternately confront his wife and plead with her to stay. She will not. In fact, she will do anything — even kill — to be free of her oppressive domesticity.

That's the basic upshot, but it means nothing, really. Possession is an out-there, surreal, overwrought, hysterical and Kafkaesque, bizarre exercise in obsession and insanity. To try and explain those aspects of it (especially Anna's aborted, squid-like man/child with whom she commits murder and creates yet other new and strange life-forms) would be an exercise in futility. Possession is truly a "you had to be there" kind of movie. See it for yourself  and I guarantee, love it or loathe it, you'll never forget it.

When it comes to the sheer artistry of filmmaking, it's an astounding, jaw-dropping feat of furious beauty. In one early scene, where Mark is giving his report his bosses, the camera weaves, bobs, swoops and dances like a gliding ballerina (mirroring Anna's own profession in the film). The characters are in constant motion, like caged animals in some moments; like escapees running free for the first time in years, in others. DP Bruno Nuytten follows their every move. In one scene, in which Mark and Anna are having a discussion, he rocks back and forth in a chair, with attention shifting from her face to his, surely making the focus-puller sweat bullets on that day. What's more, there are amazing long shots in tunnels, through corridors, up and down stairways, and plummeting over metaphorical cliffs.

When it comes to the horror aspects, open-minded genre fans will not be disappointed. Practical effects include "the creature" (by artist Carlo Rambaldi, who'd worked on Ridley Scott's Alien prior) — much improved on 35mm, having seen it before only on VHS and degenerated DVD copies. And blood. Goo, too. Lots of both. Murder, mayhem. Diabolical doppelgangers. The 'yikes' factor is all there, in addition to the raw, scary emotion and unusual, suspenseful plot twists.

— S.T. Wilson, Sci-Fi Weekly

Possession

Thu & Fri October 25 & 26, 2012, 8:00 only, VAC Basement Auditorium (1B20)

France, 1981, in English, Color, France:, 1.66 : 1

recommend

Tickets

10 films for $60 with punch card
$9 general admission. $7 w/UCB student ID, $7 for senior citizens
$1 discount to anyone with a bike helmet
Free on your birthday! CU Cinema Studies students get in free.

Parking

Pay lot 360 (now only $1/hour!), across from the buffalo statue and next to the Duane Physics tower, is closest to Muenzinger. Free parking can be found after 5pm at the meters along Colorado Ave east of Folsom stadium and along University Ave west of Macky.

RTD Bus

Park elsewhere and catch the HOP to campus

International Film Series

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Established 1941 by James Sandoe.

First Person Cinema

(Originally called The Experimental Cinema Group)
Established 1955 by Carla Selby, Gladney Oakley, Bruce Conner and Stan Brakhage.

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(AKA The Rocky Mountain Film Center)
First offered degrees in filmmaking and critical studies in 1989 under the guidance of Virgil Grillo.

Celebrating Stan

Created by Suranjan Ganguly in 2003.

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Established 2017 by Chair Ernesto Acevedo-Muñoz.

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