Our first look at the upcoming remake of Andrzej Żuławski’s cult classic Possession (1981) has appeared, and my expectations are low. While reintroducing this film to modern audiences is intriguing, remaking it is ultimately the wrong decision. I want to explore the tumultuous story of divorce expertly performed by Isabelle Adjani and Sam Neill to show that this theatrical, grotesque, and unique experience cannot and should not be recreated.
The film follows Mark (Sam Neill) and Anna (Isabelle Adjani) as they each grapple with the breakdown of their marriage. But this is no Marriage Story (2019). Evil is embodied in a monster similar to many others of the period, adding mystery and gore to everyday marital struggles.
The story required vigorous performances from its lead actors, who have both discussed the exhausting process. The style of acting will be divisive for many, as it is deliberately heightened and unnaturalistic, presenting emotion viscerally so the audience can feel rather than guess what to feel. Each actor makes art out of acting and should be revered for their performances.
Our characters face a wide range of themes such as domesticity, separation, masculinity, religion, abuse and ownership. Even with this variety, it seems to tackle each theme enough to satisfy those who look for it, allowing anyone who watches it to connect personally. A notable theme is the Berlin Wall, which really highlights the divide and mistrust that have grown in the marriage. Its presence even alludes to the more sinister aspects of Berlin’s history, blanketing the film in an omnipresent evil. The theme of domesticity is also prevalent as the supernatural occurrence is presented between scenes of meal prep, childcare and more. This calls to mind films such as Rosemary’s Baby (1968) or Don’t Worry Darling (2022), where the horror arises from the addition of supernatural events to very common domestic situations.
While I’m comparing it to these quite overtly feminist films, Possession doesn’t try to be so. In fact, the story was born from two scorned male writers trying to portray their personal battle with marital issues. Żuławski has discussed taking inspiration from Anna Karenina (1878), which Leo Tolstoy wrote intending to portray the worst of women, but instead created a sympathetic female character with great depth. Possession’s Anna follows this trend, becoming one of the great well-rounded women of cinema.
Anna finds herself in a battle for her freedom, to be whomever she may be outside of those who possess her: marriage, motherhood, or even as a lover. She simultaneously fears this freedom. To be possessed is to be safe and cared for. Furthermore, her role as a mother is presented in a way that differs from many other interpretations of motherhood, as she does not act as a mother ‘should.’ While it evokes her villainous characteristics, it also allows her to represent flawed motherhood, which is the reality of many, but commonly misrepresented. Despite her neglectfulness, we can sympathise with her position, making her more than just a mother, perhaps even stepping into a role more commonly embodied by men, allowing audiences to see her as a person rather than just a woman. We can grant her wish, freeing her of societal expectation and pressure. So, while Possession does not aim to be a film ‘for the girls,’ I find it captures feminist struggles in a unique way that more male-directed films ought to achieve.
Watch Possession. When the remake is released, the original will be inextricably linked to it, and any comparison will taint all future conversation of the films. Experiencing Possession is something I believe everyone should do. I can only hope that we get more films like it in the future.
Photo by Deepskyobject on Openverse.
