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Possession (1981)

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1:57 | Trailer
A woman starts exhibiting increasingly disturbing behavior after asking her husband for a divorce. Suspicions of infidelity soon give way to something much more sinister.

Director:

Andrzej Zulawski

Writers:

Andrzej Zulawski (original screenplay), Andrzej Zulawski (adaptation) | 3 more credits »
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3,165 ( 84)
5 wins & 4 nominations. See more awards »

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Cast

Cast overview, first billed only:
Isabelle Adjani ... Anna / Helen
Sam Neill ... Mark
Margit Carstensen ... Margit Gluckmeister
Heinz Bennent ... Heinrich
Johanna Hofer Johanna Hofer ... Heinrich's Mother
Carl Duering ... Detective
Shaun Lawton Shaun Lawton ... Zimmermann
Michael Hogben Michael Hogben ... Bob
Maximilian Rüthlein Maximilian Rüthlein ... Man with Pink Socks (as Maximilian Ruethlein)
Thomas Frey Thomas Frey ... Pink Sock's Acolyte
Leslie Malton Leslie Malton ... Sara, Woman with Club Foot
Gerd Neubert Gerd Neubert ... Subway Drunk
Kerstin Wohlfahrt Kerstin Wohlfahrt
Ilse Bahrs Ilse Bahrs
Karin Mumm Karin Mumm
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Storyline

During a secretive business trip away, Mark learns that his wife Anna is growing restless in what he believed was their happy marriage. Upon his return home, he learns from her that she wants a divorce. They both go through a series of different emotions related to their situation, Mark's which is generally obsessive about learning why Anna, who he still loves, wants the divorce, and Anna's which is generally increasingly histrionic in getting away from Mark. Caught in the middle is their infant son Bob, who Mark uses as a gage to Anna's mental state. Anna states that her want for the divorce is not because of another man, but Mark finds out that Anna has a lover named Heinrich. In the meantime, Mark also meets Bob's teacher Helen, who looks exactly like Anna, but is her polar opposite in temperament. Starting a relationship with Helen lessens his obsession with Anna. But as Mark and Anna's encounters together reach more emotional and violent levels, Mark, with help of a private ... Written by Huggo

Plot Summary | Add Synopsis

Taglines:

Murder. Evil. Infidelity. Madness. See more »

Genres:

Drama | Horror

Certificate:

R | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

France | West Germany

Language:

English | French | German

Release Date:

28 October 1983 (USA) See more »

Also Known As:

The Night the Screaming Stops See more »

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Box Office

Gross USA:

$1,113,538

Cumulative Worldwide Gross:

$1,113,538
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color

Aspect Ratio:

1.66 : 1
See full technical specs »
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Did You Know?

Trivia

According to Halliwell's, "it was released in the US in a 97 minute version". As such, the film was cut by about half an hour from its full running time of about 127 minutes. According to Yuri German at Allmovie, "the version originally released in the U.S. had 45 minutes chopped out". See more »

Goofs

In the kitchen scene where Anna cuts herself with an electric knife, Mark picks it up and starts slicing his left arm multiple times. The next day, he is in the kitchen again with his sleeves rolled up, but there are no cuts on his arm. Given the surreal nature of this film, this could have been planned. The camera focuses on the supposedly sliced arm. One can only speculate what message was intended, if in fact the "gaff" was intentional. See more »

Quotes

Doppleganger: Too hard to live with, brother.
See more »

Alternate Versions

Available uncut on a double-sided Region 1 DVD from Anchor Bay. The uncut version is paired with Mario Bava's 'Schock' (also uncut) See more »

Connections

Referenced in Irreversible (2002) See more »

Frequently Asked Questions

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User Reviews

 
Pure cinema
26 October 1999 | by kinoman-2See all my reviews

The very reason why this film was lambasted by so many people is because it requires the full use of imagination on the part of the viewer. Those who like films to be linear or over-explained (almost 90% of all films and almost 100% of all Hollywood films) will call this film confusing, baffling, hysterical, etc. However, very few directors are able to use cinematic space as Zulawski does in this film. This doesn't appeal to your rational part, it's supposed to connect with you on spiritual or deeply emotional level, it's supposed to appeal to something in you that can't be rationalized or explained verbally. Possession is a piece of pure cinema, no less.


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