 A film in three minutes. Possession. How would you feel if one day when you arrived home, your wife was missing, and your son gone? How would you feel if you found out that your partner had been cheating on you, with a stranger, for months, no longer loving you and demanding a divorce? And what would you do if you knew you could manipulate said partner into taking you back, with it only costing you the loss of your soul and mind? Ange Zouofsky's 1981 horror film Possession at first glance may appear to be a frighteningly tense melodrama about a married couple in such a situation. But, seen by scene, we are invited to bear witness to a darkening love triangle that goes far beyond marital disintegration and harbours a much more disturbing secret. Set during the Cold War, the story follows Mark, an espionage agent working for the West German government, played by Sam Neal, whose life is turned upside down when his wife Anna, played by Isabel Adjani, decides to leave him for another lover. In his quest to locate the other man and convince Anna to take him back, Mark's increasing possession of his feelings for his wife causes him to slowly spiral out of control, eventually joining forces with Anna to cover up a much more terrifying secret his wife has been hiding. To say that Possession is a grueling film to watch would be an understatement, as we witness countless moments where the couple's marriage is hideously strained to breaking point, often always turning to violence and chaos within their apartment whenever the two are alone. Both performances are captivating in their own way, with Mark's personality evolving into a manipulative, cruel madman, often lying and inflicting violence on others in the name of the twisted love he has for his wife. Anna, on the other hand, is a woman terrified of the new situation she finds herself in, becoming increasingly unstable as she is pulled in different directions by her own choices. Both actors excel at increasing the tension between them as the stakes gradually get higher, leaving us as the viewer to squirm in our seat whenever the two share the screen. One of the film's strongest elements is its cinematography, composed by Bruno Nyton, who makes great use of camera movement to create a feeling of claustrophobia. This visual style helps to heighten the tone of the on-screen performances, giving the film a visual energy that rarely slows down once it begins to build up speed. The use of the Berlin Wall acts as a perfect metaphor for the divide Mark feels for his wife, making the western half of the city look like it's disintegrating as quickly as their marriage is. Possession as a film acts as both a horror, a psychological thriller, and a taught drama about the struggles and complexities of marriage. Although its ending leaves some unanswered questions, the journey both characters endure before reaching the finale is as frightening an arc as I have ever seen. Both actors play off each other's deception perfectly, but Adjani steals the show in almost all of her scenes, later describing the film as an experience that took her several years to get over. The same might be said of you once you watch it, with Zouofsky's brilliant direction and terrifying imagery staying with you for many years, leaving you as the viewer, one could say, quite possessed.