Athens International Film Festival
aiff

POSSESSION

23/09/2021, 22:15, AEGLI ZAPPION

The legendary Polish director succeeded in offering up one of the most thrilling film experiences of the 80s, though it was censored in many countries for a number of years. In this film he chronicles the end of a marriage in the midst of a divided Berlin, camouflaging a family drama in an almost surreal horror film getting from Isabelle Adjani one of the most breathtaking female performances we have seen, which rightfully earned her the Best Actress award at the Cannes Film Festival. Screening dedicated to Tasos Theodoropoulos.

FRANCE, WEST GERMANY | 1981 | COLOR | DCP | 124’ | ENGLISH

It is commonplace to say that Zulawski’s films are films of top volume. It is also understatement to say that this potentially monstrous individual drama in a dual relationship was never met with such hysteria. Finally, it is a truth mightier than even his cinema, that his films could not be made again today.

For the first 30 minutes the film is super speedy and you find yourself asking what could happen then. But insane Zulawski knows. A woman becomes possessed but she is no one’s possession (hence the ‘possession’ of the title). Her husband and her lover try but to no avail… The world is exo-logical, primal, instinctive, thus uncontrollable. A fearless Isabelle Adjani perfects acting ways ten years before they become easy fashion I.D.

DIRECTOR: Andrzej Żuławski
SCREENWRITERS: Andrzej Żuławski, Frederic Tuten
DoP: Bruno Nuytten
MUSIC: Andrzej Korzyński
EDITORS: Marie-Sophi Dubus, Suzanne Lang-Willar
PRINCIPAL CAST: Isabelle Adjani, Sam Neill

ANDRZEJ ŻUŁAWSKI (1940 – 2016)
Polish director born in Ukraine. He worked as Andrzej Wajda’s assistant. He studied film in France, country where he resorted to when his country’s Communist Party condemned him because of 1972’s ‘The Devil’. One of the most prominent figure of European Cinema in the ‘70s and ‘80s.

FILMOGRAPHY
2015 Cosmos
2000 Fidelity
1996 Szamanka
1991 The Blue Note
1989 Boris Godunov
1989 My Nights Are More Beautiful Than Your Days
1988 On the Silver Globe
1987 Malady of Love
1985 L’Amour braque
1984 The Public Woman
1981 Possession
1975 That Most Important Thing: Love
1972 The Devil
1971 The Third Part of the Night



    Publication date: 2021-09-14 14:50:44

    THE SADNESS / KŪ BĒI

    THE SADNESS / KŪ BĒI

    A couple try to reconnect in the midst of chaos caused by a pandemic in the city, as a mysterious virus turns people into sadistic beasts with invincible libidos, capable of the most unimaginable violence. A pandemic horror from Taiwan presented as a profane extravaganza of outrageous outbursts full of pure misanthropic carnage, ruthless zombies and nihilistic satire, tailor-made for macabre giggles in the dark. The grindhouse blood diamond of the year marks the end of politeness and order and the beginning of “The Sadness”.

    PRISONERS OF THE GHOSTLAND

    PRISONERS OF THE GHOSTLAND

    
In a post-apocalyptic universe, Nicolas Cage, in his leather clad outfit, must save the captured daughter (Sofia Boutella) of a corrupt governor before the bombs attached to his testicles go off. The first English-speaking film for Sono, a Japanese debut for Cage, destiny finally brings together the two savages of cinema who see eye to eye, and all that ensues is nothing but a Sergio-Leone-like wet dream the artform has about itself, alternatively it is the ultimate coming together of samurai and western films. If “Mandy” was the starter, you might as well get ready for the main course.

    CENSOR

    CENSOR

    In Thatcherian England, a female horror film censor has become accustomed to cutting brutal scenes with mostly female victims. One film, however, will remind her of the events surrounding her sister's disappearance, and her repressed memories will return to leave the final cut of her life uncensored. The surprise horror we have been waiting for, for ages, with earnest devotion to the 80s and made by women who undermine the male gaze, constantly moving between the boundaries of what is entertaining and what is disturbing, leading to one of the most brilliant plot twists of the genre in recent years.

    IN THE EARTH

    IN THE EARTH

    
While the planet is plagued by a virus, a scientist and his guide search the woods for traces of a co-worker and former lover, coming face to face not with the perplexing details of her mysterious disappearance but with the certainty that someone is watching them and that something evil lurks between the trees. Atmospheric, kooky, chilling, psychedelic: this is Ben Wheatley's trippy return to horror and to the Festival's late night screenings.

    LAST NIGHT IN SOHO

    LAST NIGHT IN SOHO

    
A young country girl hoping to become a fashion designer in London, finds herself mysteriously traveling back in time to the swinging 60s, spying on the frenzied days and nights of an aspiring singer (Anya Taylor-Joy of “The Queen's Gambit”). Soon, however, her journey back and forward in time starts to become dark and threatening. The most anticipated horror film of the year, by the virtuoso British director of "Shaun of the Dead" and "Baby Driver", is a spectacular psychological thriller, something between Roman Polanski's "Aversion" and Dario Argento's "Suspiria", gradually transforming an exciting mystery into a Grand Guignol nightmare.