Possession
Everything is either fractured or in the process of splitting apart. It is the final decade of the Cold War, and Mark (Sam Neill), a spy, returns to West Berlin, the more prosperous, though eerily vacant, half of a divided city, where his wife, Anna (Isabelle Adjani), is inexplicably asking for a divorce.
The Devil (Diabeł)
Andrzej Żuławski will be your guide through hell, giddy as Virgil his first day on the job. He conceived his second theatrical feature, 1972’s The Devil (aka Diabel), as a political allegory for the witch hunts launched by the Polish Communist government in response to the 1968 student uprisings, but it is also a convulsive work of revenge horror, a wintry ride well beyond the limits of sanity.