Love stories end badly, most of the time. Yet who has not, at least once in their life, believed in the couple, in their own love story?
Andrzej Zulawski’s Possession is a love story. It ends badly. Yet in its fiery glory it is, in my view, the greatest film ever made in homage to the passion that makes lovers push all limits and—in this case—emerge victorious from the ensuing apocalypse. Dead, but victorious, for to the end their desire remains intact.
Berlin. 1980. The Wall. He comes back from a secret assignment. She has a lover. But no longer the one the husband has tracked down. No, this lover is an octopus-like creature, a real monstrosity. Insatiably craving its embrace, she submits to it and emerges exalted from each encounter. It takes a while for the husband to realize this, and by the time he does he has already changed his disposition toward his wife: No longer trying to ‘normalize’ her (by forcing her to either leave or return to the family fold, an endeavour that had entailed the two of them tearing each other apart), he is now determined to stand by her—out of love.