All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
The nightmare world of a virgin's dreams becomes the screen's shocking reality!
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…
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…
This review reportedly contains 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…
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…
From the director of Rosemary's Baby, Chinatown & The Pianist, Repulsion is Roman Polanski's first English-language film and is also the first chapter in what eventually became his Apartment trilogy. Shot on a modest budget, filmed in black-n-white and addressing the themes of repressed sexuality, past trauma & mental illness, this psychological horror is amongst his better works.
Set in London, Repulsion tells the story of Carol; a young woman who shares an apartment with her older sister, works as a manicurist at a beauty salon, sleepwalks through most of her days and is extremely awkward around men. Things are set in motion when her sister decides to go on a vacation with her boyfriend, leaving Carol alone in the apartment where…
honestly FUCK polanski but this movie is an exception
A manicurist with beautiful blonde hair just wants to eat rabbit with her sister. We see the unfortunate rabbit. It has been skinned. It is removed from the refrigerator.
The sister's lover arrives. He whisks her away for a night on the town. The manicurist, and the rabbit, are left alone.
The sister wants to see the Leaning Tower of Pisa. The manicurist begs her sister not to leave her behind. The sister's lover whisks her away for a fortnight in Italy.
The manicurist decides to prepare the rabbit herself. But the walls are cracking and strange men are appearing in the mirrors. A day, a weekend go by, and the rabbit sits by the phone. In a state of…
Roman Polanski chronicles the decent of a mad European women through sexual frustration and...well...repulsion within London's swinging sixties.
The film moves elegantly and quietly around an apartment as it physically and metaphorically deteriorates as our lead character, Carol, further recedes into her own madness as men seem increasingly thrust themselves on to her, not always in sexual ways, but socially as well, which begins totting up to a body count in one of the few films that had a female killer.
There's theories that revolve around how seeded this sexual regression goes, but I believe it does the film a disservice to explain her past for reasons for her actions. Sexual attitudes were changing and not everyone was willing to…
This is such a knockout performance in a really creepy movie.
Polanski was lightyears ahead of everyone in the ways in which he appreciated the plight of a lady beat down by the patriarchy (makes it even sadder that he's a rapist). The way he uses Deneuve to lure in than (ha) repulse his audience implicates each and everyone one of us in a way that many other films have attempted but failed to convincingly pull off.
The effects are subtle and tremendous at the same time, and the death of Denueve's nice guy suitor (set up as a grand romantic gesture that's instantly dispelled as violent and scary) feels revolutionary.
Halloween Hype 2015, Part XXIII
As traumatically dreamy & nightmarishly perfect as ever.
Re-watching two Polanski masterpieces this Halloween season, both via Criterion blu-ray, were major highlights this year.
"Te cuento los detalles sórdidos más tarde"
Grietas. Una casa vacía. Ya no se oyen los gemidos de tu hermana. Ya no está el sucio cepillo de dientes de aquel hombre en tu vaso.
Los hombres. Siempre tratando de tocarte, siempre tratando de aprovecharse. Y todo porque eres una cara bonita, ¿no es así? No me toques, me das asco. Suéltame. ¿Por qué no me haces caso?
Más grietas. Carne podrida. Ella dijo que iba a cocinar el conejo. Luego se fue con aquel hombre a cenar, y ahora el conejo se pudre en la cocina. Desprende un olor horrible.
Pasos. Ruidos. Otra vez silencio. El conejo se está descomponiendo. Las moscas no paran de revolotear ¿Hay alguien ahí? Estás…
Slow burn psychological thriller about a sexually repressed woman and her descent into madness. Roman Polanski hits one of many home runs with his English language debut. A landmark film that along with Michael Powell’s Peeping Tom & Alfred Hitchcock’s Psycho changed the way horror films were made.
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
A big collection of films that might be considered as strange, mindfucking, surreal and weird. Sorted by year. Suggestions are…