Possession, dir. Andrzej Żuławski, France/Germany 1981, 127'

Mark (Sam Neill) returns from a spy mission to West Berlin to discover that his wife Anna (Isabelle Adjani) is having an affair. The marital crisis escalates, explodes with violence, and the truth about Anna's betrayal turns out to be much more shocking and difficult to grasp with reason. For many viewers, Possession can be the definition of Andrzej Żuławski's cinematic style: recognizing no boundaries or taboo subjects, pulsating with a nervous rhythm, enigmatic and fascinating at the same time. Leading both the actors and the audience to the brink of endurance.

Isabelle Adjani, who won a Caesar and an acting award at Cannes for her role in the film, admitted years later that Żuławski had managed to force her to make an almost superhuman effort, but she would never agree to a similar challenge again. The obsession was overgrown with dark legends, Sam Neill mentioned in his autobiography that such a film could no longer be made today, and critics looked for references to the director's turbulent parting with Małgorzata Braunek or compared the title to the works of Polanski and Cronenberg. Regardless of the controversy, Possession remains one of the boldest, most drastic and difficult to interpret films of the 80s, and this is regardless of whether we watch it as a psychological drama about the trauma of domestic violence and the breakdown of marriage, a political allegory of a divided world or a psychedelic monster movie (one of the titles under which Żuławski's film was distributed in the United States United, it read: The night the screams fell silent).

In Poland, the film was shown only at a few studio and festival screenings: it entered cinemas only in 2023, inaugurating the distribution activity of Reset.