The centripetal force behind Andrzej Żuławski's Possession is undoubtedly Isabelle Adjani's vulnerable, physical dual-performance, which masterfully depicts the depression involved with miscarriage and the horrific spiraling in the latter two acts. 

The titular possession is as much an actual possession by a real entity, as it is representative of the possession of grief or martial strife, loneliness or depression. It manifests in all of the characters, especially Adjani's Anna's husband, Mark. 

Żuławski begins to lose his grounding in the third act with a cheap schematic progression, but the first act depicts some of the most compelling conflict between husband and wife that I've seen so far.

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