Possession (1981): A

The Berlin Wall serves as a fitting backdrop for this frenzied psychological drama/horror about a fragmented marriage. Here you’ll find doppelgangers, improperly used electric knives, dead dogs (gods?), crises of faith, and a skeleton in the closet to end all skeletons in the closets. Demoniac performances imbue Possession with a mythic energy—Adjani justifiably gets most of the love, but Neill and Bennent more than hold their own. The whole ordeal is relentlessly fraught with anxiety and impending doom from its distressing opening to its apocalyptic final act. Set aside some recovery time.

 Michael Seymour Blake, Guest Contributor