All the films from all the editions, including those subsequently removed, presently totalling 1167. 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…
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…
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…
"I don't think Cinderella likes me."
Polanski has a weird and original method of constructing dialogue in early films. Two subjects, two people. One person gives up their subject and it is converged to one subject. This raises the importance of the subject that won and shows the disparity and power levels across characters.
The clock ticking in rosemarys baby is introduced here. Additionally, Polanski incorporates other repeated sounds to increase tension; dripping water and ringing. The lighting, especially of the bed, is masterful and a sneak peek of his later films. His interpretive style of mixing real and imaginative is a tool he utilizes expertly in this and Rosemary's Baby. Repulsion is Polanski at his best.
Distressing and effective, it's easy to see why Repulsion imprinted itself upon viewers and unsettled so many audiences. I don't nearly love it like I do Rosemary's Baby, nor am I sure I even like it as much as films inspired by it like Pi or Eraserhead. But I definitely respect its value.
this didn't do anything for me but Catherine as always is a marvel
This review reportedly contains spoilers. I can handle the truth.
Rosemary’s Baby used to be my favourite Polanski film. Well, out of Rosemary’s Baby and The Pianist, anyway. I haven’t seen Chinatown or any of his other works yet but I’m calling it: Repulsion is my favourite Polanski film.
I know Polanski is a controversial figure with a convoluted history, and it’s hard to ignore that history when his film is so entrenched in the disturbing, in the cracks of a broken mind, when that’s what makes it so fucking good. Would any other director be able to create a film that explores the darkest aspects of sexual and psychological aberrations? Does that excuse the allegations, the crimes that he’s been accused of? I don’t know. But I do know…
Repulsion, la primera película de la llamada "trilogía de los apartamentos" cuanta con una historia que realmente no me interesó demasiado, pero que igual tenía algo que me atrapó y es ahí donde entra la mano maestra de un director de altura como lo es Roman Polanski, además de esto, se le suma un magistral fotografía en blanco y negro -posiblemente una de las mejores que he visto-. Tiene unas tantas secuencias que se quedan en la psique, pero para mí no terminó explotarse para poder catalogarla de obra maestra. Por lo que tengo entendido, el film causó revuelo al demostrar de una manera no antes vista la esquizofrenia y realmente eso es algo que se debe apreciar. No es…
In Repulsion, spaces and places conform to the mind’s eye, growing, shrinking, changing plasticity and texture. Sound, however, is only isolated, becoming louder or softer as the psyche perceives (or indicates). Polanski’s film is practically a manual for expressionistic cinematographic techniques, and yet sound remains without significant distortion. What is the reason for this? Although Repulsion’s visual audacity far outstrips its aural explorations, the history of sound in film must be taken into account. With thirty years-worth less innovation, film sound was, in the 1960s (and perhaps even now), still in its infancy. Because of the rigors of post-synchronization, used more heavily by some national cinemas than others, selectivity in sound effects was a natural discovery. Certain dominant effects can…
Beginning with subtle observation of mundane details and building to heights of howling madness, this film visualizes both the ever-present threat of violence against women and the interplay of physical and psychic space. Utterly brilliant and endlessly copied.
Cf. Peeping Tom
I suspect this film was much more shocking when it was first released than it is today. It's an interesting film and certainly a must watch for fans of horror, but I simply could not love it as some of the ratings might have suggested. It's a definitely chilling look into descent into madness but ultimately the film tends to drag at times with scenes that don't necessarily add to the story.
I expected a lot from this film, but I found it dull beyond belief.
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…