It's funny -- as I write up this post, the one you are reading right now, I have in another tab on my desktop a new piece at Vox from trans writer Emily VanDerWerff about reading Ari Aster's film Midsommar as a stealth trans-narrative. And that reading aside it does strike me that Midsommar and Andrzej Zulawski's 1981 masterpiece Possession, which I wrote up for this week's edition of my "Great Moments in Horror Actressing" series, do have some weird overlaps! They're both about the central heterosexual relationship failing spectacularly, as the woman decides to choose chaos over the almond-paste cuck-boy she's partnered with when the movie starts...
You might read this as a failing of my person but I've seen Possession three, maybe four times now, and I never once got that Sam Neill's character is supposed to be playing a spy? It's a piece that makes sense in the narrative, which has its characters sneaking around along the Berlin Wall and play-acting out Film Noir plots that grow more and more ludicrous as the film's grasp on any sense of sanity slips. (By the time a row of cars are spontaneously exploding and Margit Carstensen's poor dead body is ejecting itself from a trunk you'd be forgiven for thinking of the absurd climax of American Psycho, where Patrick Bateman's fantasies have got over the top too.
my new piece on Isabelle Adjani and Zulawski's film over at The Film Experience... and in summation, Sam Neill has a rooster named Michael Fassbender.