Our recent post about the colour-correction of POSSESSION has prompted a lot of interesting discussion here and elsewhere. Our post facility have been working with director Andrzej Zulawski on a shot-by-shot basis, so here's some more detail; Our Friend in the West - in this video interview, legendary French producer Christian Ferry (John Guillermin's King Kong, Alain Resnais' I Want to Go Home) recalls his initial encounter with Andrzej Zulawski and discusses the production history of Possession. In English, not subtitled. (7 min). A brief but informative look at the work of Polish film poster artists Barbara Baranowska, aka Basha, who designed the poster for Possession that features on the cover of this very Blu-ray disc. This history is provided by Daniel Bird's soberly delivered but well-written narration, illustrated by the often striking posters themselves.

Andrzej Zulawski Interview - in this video interview, director Andrzej Zulawski recalls how Possession came to exist and discusses the socio-political climate in Poland at the time when the film was made. The Polish director also discusses the unique qualities of the main characters in Possession, Isabelle Adjani's legendary performance, and the film's visual style. The interview was produced by Jerome Wybon for TF1 Video in 2009. It also appears on the Region-B release of Possession. In French, with optional English subtitles. (36 min).Also, there are tradeoffs to making tweaks like that in SDR, which the 4K master of possession is. While the Mondo/SS discs have less blown out highlights, as a result of that change the whole scene is much darker - it looks like he is standing in a dim room instead of a room illuminated by natural light. Looking at the bright reflection on the desk near the window, the tamed highlights dim-room look doesnt make as much logical sense honestly. Thus its not an error, but a tradeoff. HDR on the other hand you can make tweaks like that with minimal side effects (other than seeing more of what was behind the highlight, which has created issues for some 4K transfers). That experience really fostered an extreme interest in that side of my genetic history, but without "formal" education clever enough. While the Hebrew here is more or less straightforward translations of the English words like should be the beginning. So not to pun horribly given the kind of Satanic element of The Possession, but as appropriately called The Dybbuk by a playwright who became known as S. Ansky (the "S" stands for the

setting. If The Exorcist tried to frame everything within the arcane liturgy of the Catholic Church, The follow along in the chanted liturgy on High Holy Days, or stumbling through various Biblical passages to see what theyIt'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.

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. The film was first restored a few years ago by Zulawski himself but the master had colorometry problems. Problems fixed, for the majority, on previous BLURAY releases abroad. left of their attendant Hebrew word, since the left side is the end of the word. On the menu options we wereA most engaging interview with composer Andrzej Korzynski, who recalls meeting director Zulawski at primary school ("we sat on the same bench and made trouble together") and his subsequent seven-film collaboration with him. Tantalising clips from three of Zulawski's films are included, with particular focus on his banned and nearly lost science fiction epic On the Silver Globe. freely admits in his commentary is supposed to give the viewer the idea that "someone—or something—is watching us", Presented in an aspect ratio of 1.67:1, encoded with MPEG-4 AVC and granted a 1080p transfer, Andrzej Zulawski's Possession arrives on Blu-ray courtesy of Mondo Vision. The above post explaination doesn't line up with LCQF's restoration notes which consulted multiple sources to get the color timing they landed on. Second sights explanation also doesn't say much other than instructing people that an OCN doesn't have a baked in color timing which is obvious for anyone who has worked with film negatives or digital raw files magically transform into English (see the last screenshot accompanying this review). Well, okay, confession time: I can

even be tempted to slightly believe that it is based on anything other than the fanciful imagination of a screenwriter (or Second Sight - We are making a new restoration based on directors grading notes and the camera operator's approval French producer Christian Ferry concisely recalls how he first worked with Zulawski and the films on which they collaborated. course the film never really makes anything very clear). Anyone who has ever attended a Lubavitcher service will

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As a portrait of a relationship collapsing into madness the film would be strong enough meat, but underscoring the drama are a number of potent metaphoric strands whose purpose and interrelationship require at least two viewings to untangle and fully appreciate. Chief amongst these is a fascination with duality, appropriate in an ideologically and physically divided city (this choice of location was a deliberate political statement on the exiled Zulawski's part), which is most literally realised in the figure of warm and kind-hearted schoolteacher Helen, who bonds with the couple's young son Bob and is an idealised dead ringer for Anna and at one point looks set to replace her in the family unit. It's uncertain whether this visual similarity to Anna is actually the product of Mark's own loneliness and wish fulfilment or a genuine doppelgänger whose male equivalent is slowly taking shape in Anna's bedraggled apartment, a creature born of Anna's unhappiness and neurosis (given disturbingly gooey shape by master creature creator Carlo Rambaldi). It's a concept that was successfully road-tested by David Cronenberg two years earlier in The Brood – no surprises, then, that the broken relationships in both films were autobiographical in origin and the product of the directors' hostility towards their respective ex-partners. No one has claimed with certainty that Second Sight was delivered the finished SDR-graded 4K master for Possession, in which case the latitude for corrections would indeed be limited. Why exclude the possibility they got a log scale master on top of which they could make sensible grading choices? I would assume that the 4K scan and most restoration work were performed with the widest possible latitude (and then grading being the last step) and as such, these materials should be readily available. Yes, a cameraman in most cases isn't going to be present during the actual photochemical grading process or asked to approve an answer print so that's not really much of an assurance that it's going to look how it was originally intended to look. thinks Dad is abusing little Em, but you just know in your heart of hearts that after a few long, doleful looks, she'll