A list of films I haven't seen........
I should be ashamed of myself.
In Roman Polanski's first English-language film, beautiful young manicurist Carole suffers from androphobia (the pathological fear of interaction with men). When her sister and roommate, Helen, leaves their London flat to go on an Italian holiday with her married boyfriend, Carole withdraws into her apartment. She begins to experience frightful hallucinations, her fear gradually mutating into madness.
Part of Hoop-Tober
“I must get this crack mended.”
What we have here is a failure to communicate. Just as bad is the failure to observe. They are failures with which we all are overly familiar, whether we know it or not. Lost in a haze of tact and duplicity and feigned invulnerability and self-loathing, we keep what we think to ourselves. A wise and proper move at times; a misleading and destructive bit of stonewalling at others. And as we’re being selectively tight-lipped, we turn inward to consider what we should not consider sharing. Too focused on our navels to notice others' miscommunication and carefully chosen silence, to truly read between the lines and see them and their concerns.…
There is something uniquely intriguing about watching a talented filmmaker trying to find his footing in one of his first films, especially in a setting where he is in total control, namely the mind of his protagonist.
To me true horror comes in the shape of losing control. This film is about that and it is unrelenting in the terror that Catherine Deneuve suffers through. She is slowly losing her mind and that gradual process is depicted beautifully.
Polanski tenaciously tightens the screws and always keeps you as a viewer unaware when he is going to make a transition from the real world to Deneuve's delusions. These transitions are so smooth that they have a very unsettling effect. What struck…
This review may contain spoilers. I can handle the truth.
''I must get this crack mended.''
How does one portray the psychological manifestation of dementia cinematically with minimal funds and vast imagination? Well if you can achieve even half of what Roman Polanski does with his sophomore film, then you would be on the right track. With a slow-burn European sensibility, building atmosphere and tension before showing you it's hand, Repulsion has gone onto to be revered with the greats, despite Polanski's ambivalence towards the film: “Repulsion is the shoddiest—technically well below the standard I try to achieve.”, but this sounds like a man who remembers only the struggle to fight for funds to achieve his ultimate goal.
Throwing the viewer into the middle of the story with barely any…
Cracking walls; cracking pavement; cracking psyche.
What Roman Polanski and his crew do with sound here is just incredible. Obviously much of the praise for Repulsion’s intensely claustrophobic and at times truly horrifying atmosphere is due to the fidgety discomfort of Catherine Deneuve’s performance and the dark distortions of Gilbert Taylor’s cinematography, but what I couldn’t get over from the start of the movie to the end was the way it used sound to instill a haunting disquiet—and they way it pulls all the sound out of particularly horrifying scenes. Prolonged silence. A bell tolls too many times. Water drips incessantly from an unseen faucet. A woman’s frightened voice pierces through closed windows and doors, screaming from oblivion, voicing the…
Repulsion shows off a few skeletons.
Polanski established early in his career his knack for setting up tension. This movie has a supreme attention to detail. No clues are given at the start about where this movie may be heading, but you'll soon find yourself neck deep. Catherine Denevue supervises your stay in her cramped, deluded, surreal apartment. The stay gets stranger with time.
This is a movie that pushed boundaries. It is the first movie to feature a female orgasm that got by the British Board of Film Censors. It has a few scenes that must have had audiences walking out of the theater. Set mostly in a small apartment (Rosemary's Baby much?) this is so clearly a Roman…
The first hour or so makes up such a perfect anxiety nightmare that it bummed me out when it went a more typical (albeit eventful) route of "her madness is making her KILL!" The Polanski that made me squirm during mundane scenes in Rosemary's Baby purely through the power of his mise-en-scene is multiplied by five here, to the point where it got too much for me and I had to pause the movie to go do chores. Polanski's famous claustrophobic interiors find their counterpoint in this film's uneasy handheld exteriors, where pounding percussive jazz music assaults Catherine Deneuve and the audience and the entire world, it feels like.
Even as it gets more typically, fantastically, surreal by the end…
This is not what it's like to be a woman who finds men/masculine behavior repulsive. Just couldn't find anything to groove with here, probably because it's a man's take on what a woman might feel.
Eh. Doesn't really hold up. Well shot though. Great performance from Catherine Deneuve.
The life cycle of a potato.
ugh men amirite
I've always loved thrillers and horror stories, but over the last month I've felt especially ensconced in that world (thanks mostly due to a De Palma retro in town and the connected De Palma fever throughout the internet because of that documentary about him), and I've reached the conclusion that there's no better way to explore the anxieties and tensions of everyday life than with a good thriller, if it's one that's been thoughtfully and insightfully crafted.
Here we have one of the best examples of that, a character study that uses the cinematic grammar of the suspense thriller to reveal the terror of sexual objectification of women at the (literal) hands of men wherever they go, whatever they're doing,…
I fell right into the mindset of this movie. Loved how it kinda felt like a silent movie. The use of music, sound and silence was so powerful.
Though this may take a while to get going for most movie watchers, this slow descent into madness is both fascinating and tragic to watch. I love what Polanski did with the cracks in the walls and the clay wall as well.
There is a reason this is considered a classic.
Polanski expressa de uma forma excelente várias simbologias e causa incômodos em que está assistindo ao filme. Os posicionamentos de câmera são muito interessantes e fazem com que pareça que o tempo todo a personagem está sendo sufocada pelo próprio apartamento e a situação em questão. A repulsa, como o próprio nome do título diz, é transpassada pro espectador de acordo com o desconforto que a personagem sente e vai perdendo o controle e sanidade.
A utilização do silêncio é muito bem utilizada em cenas chaves que vão complementar com o final, onde é fechado o arco, mas sem esclarecer por total o que se passa na história, o que não deixa o filme encerrar as discussões naquele momento.
Importante perceber também como a reflexão sobre abusos, sexualidade feminina e aversão, em muitos casos, ainda é atual e bem expressada nesse longa.
I'm now a Catherine Deneuve stan.
A list of films I haven't seen........
I should be ashamed of myself.
This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…
Movies that are slightly off.