will probably know, Hebrew is written and read right to left (as opposed to our language's left to right procedure), but I would think that David M. is probably the ultimate authority on how it should look, since according his post linked above, he actually sat down with Zulawski in Poland to finish off the grading of the previous transfer. somewhat unwieldy Shloyme-Zanvl). Dybbuks are malevolent spirits which possess people and they have long been a to right formulation. My wife and I first became aware of this because Hebrew has several letters which take different

Repossessed - a visual comparison highlighting the key differences between the U.S. re-cut and the Director's Cut of Andrzej Zulawski's Possession. With English text. (13 min). became enamored of Bernstein's version of The Dybbuk, in fact, I went to the Jessica Lange film Frances, thinks Dad is abusing little Em, but you just know in your heart of hearts that after a few long, doleful looks, she'll affected me, to the point where my first real impact in film scholarship circles was my decades long quest to sort out fact

Possession: Other Editions

It's interesting how he mentions that the previous transfer also had some inherent errors which had to be corrected - one of those being the same highlight clipping people have complained about with LCQF's transfer. The Sounds of Possession - in this video interview, composer Andrzej Korzynski discusses his contribution to Andrzej Zulawski's Possession. The two gentlemen have collaborated on seven feature films. In Polish, with imposed English subtitles. (20 min).

Audio Commentary - co-producer Frederic Tuten recalls his work with director Andrzej Zulawski on Possession and offers his interpretation of the film's complex message. (The Polish director views Possession as an autobiographical film, but Mr. Tuten's take on it is rather different). There is plenty of interesting information about the trips that were made to West Berlin, where the film was shot, Isabelle Adjani's performance and her image in Europe after the film was screened at the Cannes Film Festival, etc. Mr. Tuten also shares some very interesting information about a project with Nastassja Kinski that never materialized, etc. Also contributing to this commentary is biographer Dan Bird. In English, not subtitled. What sells this even at its most fraught is a pair of boldly brilliant performances from Sam Neill and Isabelle Adjani. Perched on a fragile ledge on the brink of madness, they wrestle with their confusion and inner pain and bellow into the abyss without ever breaking the delicate tether that binds them to reality. Such acting requires a rare blend of fearlessness, raw talent and faith in the director, a willingness on the part of both to push themselves further than logic would normally dictate in a manner that electrifies every encounter between them and transforms their solo scenes into often memorable set-pieces. The most justifiably famous of these is Adjani's explosive subway breakdown, where distress mutates into wild and ultimately orgasmic hysteria and a climactic expulsion of something whose true form and intent we can at this point only guess at. Adjani is genuinely astonishing here, hurling herself headlong through the emotional meat grinder in a performance that bagged her the Best Actress César, but apparently took her some years to fully recover from. Mondo Vision's Blu-ray release of Possession uses as foundation the same recent restoration of the film which British distributors Second Sight Films accessed when they prepared their Blu-ray release for the UK market. However, the high-definition transfers the two releases use are not identical. Equally impressive is Adjani's co-star Neill, who is required to jump through an even greater range of emotional hoops in a bumpy journey that sees him cast as confused and jealous husband, painfully lonely partner, cheerfully attentive father, self-confident criminal conspirator and even ruthless revenger, all without straining credibility or breaking his bond with the audience. While Anna appears to be consumed by her trauma, Mark slowly learns how to feed off of his and ultimately draw strength from it, seemingly indifferent to its long-term corrosive effects. Here, it was a very demanding job, we saw the movie about fifty times before validation of the rights, but the result is, it seems, lived up to expectations. Many thanks to Sébastien and Mathieu for their work.

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follow along in the chanted liturgy on High Holy Days, or stumbling through various Biblical passages to see what they Second Sight - We are making a new restoration based on directors grading notes and the camera operator's approval The film is perhaps most famous for a scene of Isabelle Adjani suffering a violently-animated miscarriage in a subway, which many continue to take out of context, treating it as humorous instead of horrifying. However, it plays a part in a larger story about the disintegration of two people, not just from each other, but from themselves as well. Amazing cinematography, incredible monster effects by Carlo Rambaldi, and a go-for-the-throat acting and story approach make Possession one of the most amazing pieces of filmmaking ever mounted. Whether you like the film or not, you won’t soon forget it.

ago actress Frances Farmer, and, like The Possession, containing the "Based on a true story" statement.initially confused as to why these "finals", as they're called, were on the right side of the words, which really