- The Possession of Hannah Grace
- Amityville Horror II: The Possession (1982) - The Murders (FILM-NOIR)
- _Amityville Horror 2 The Possession PART 1
- The Devil and Father Amorth
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Amityville Horror II: The Possession (1982) - The Murders (FILM-NOIR)
Isabelle Adjani and Sam Neill at an event for Possession () Isabelle Adjani .. Star Sam Neill once cited Possession as his personal favorite of all the films.
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_Amityville Horror 2 The Possession PART 1
The Devil and Father Amorth
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This hardly qualifies as weird in the context of Cosmos , whose progression rigorously follows through such increasingly haphazard connections, befitting the belated conjunction of two major Polish surrealists: infamous iconoclast Andrzej Zulawski, returning after a year-hiatus from filmmaking to translate the final novel by Witold Gombrowicz to the screen, with the title remaining both ironic and sincere. After all, the somewhat puzzling but inconspicuous case of the hanged bird, which crucially fascinates and nauseates the protagonist—named Witold, like the writer—turns out to be the first major event in an ever-escalating chain of associations, whose implications are indeed cosmic. Attempting to forge order from the chaos of the real world, Witold builds a private cosmos founded on arbitrary associations. This prototypical outlaw-auteur, equally given to extroverted grand gestures and an introverted, even implosive streak of self-scrutiny, has rebounded a few months shy of his 75th birthday in Locarno , emerging with the prize for Best Director. Having studied philosophy and cinema in Paris, Zulawski returned to Poland, starting out as a journalist and writer, first publishing poems, followed by a novel in , which was promptly censored. Real proof of an emerging talent came with two fluent, if still somewhat conventional half-hour shorts made for Polish television in —the only black-and-white works by a bright colourist: Pavoncello, based on a story by The Ashes scribe Stefan Zeromski, and the Turgenev-inspired The Story of Triumphant Love first broadcast in already scrutinize aspects of mad love in sparse historical settings, but Zulawski creates a rich, eerie atmosphere with few visual coups and a number of mysterious turns. Yet the true Zulawskian frenzy was to be unleashed with his astonishing big-screen debut The Third Part of the Night , establishing many key themes and stylistic ideas, and the director as someone to watch—not least by the Polish authorities.