roman polanski

In the opening moments of Roman Polanksi’s Repulsion we watch as titles drift across the eyeball of the film’s protagonist, Carol (Catherine Deneuve). The camera proceeds to pull back as a despondent score plucks, thuds, and reverberates in our eardrums. Slowly a face covered with a thick plastering of who-knows-what calls out, “Have you fallen asleep?” At the film’s conclusion, a carefully orchestrated bookend image offers an uncomfortable answer, suggesting Carol may never have been “awake”.

Not since way back in 2006 – when I stumbled onto Mark Danielewski’s House of Leaves – have I been so engrossed by the world of a book as I was by Marisha Pessl’s Night Film. Now, I’m not saying it’s as arrestingly visual, intricately woven, or labyrinthine as Leaves, but it’

I recently had the opportunity to attend a press re-screening of two of Roman Polanski’s most influential films. “Repulsion” and “Rosemary’s Baby” were the picks for the night to honor the work that Polanski has done in his career. I decided against writing a full blog post about the event and thought doing a review of “Rosemary’s Baby” would be more fitting. This cult classic has become a seminal horror icon and still holds up as a masterpiece of film. The pacing of events combined with the competency of each character is as subtle as the hellish baby bump growing on Rosemary’s tummy.

The crew takes on "Repulsion" and "The Tenant", and the experience has us clawing at the walls in more ways than one.