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Audio Commentary featuring Polanski and Actress Catherine Deveuve; ; A British Horror Film (2003), a Documentary on the making of Repulsion, featuring Interviews with Polanski, Producer Gene Gutowski, and Cinematographer Gilbert Taylor; ; A 1964 French television documentary filmed on the set of Repulsion, with rare footage of Polanski and Deneuve at work; ; Original Theatrical Trailers; ; Plus: A Booklet featuring an essay by film scholar and curator Bill Horrigan
Full Product DetailsDisc #1 -- Repulsion
1. Opening Titles [2:17]
2. Fire and Ice [6:18]
3. Helen and Michael [10:57]
4. Next Morning [7:26]
5. Cracks [9:03]
6. Left Alone [6:23]
7. Fear and Aversion [12:02]
8. Trouble at Work [9:14]
9. Visit from Colin [8:44]
10. Hands [5:02]
11. The Landlord [12:18]
12. Busywork [5:23]
13. Return [9:12]
14. End Credits [:44]
1. Color Bars [:00]
1. Maurice Binder [2:17]
2. Daydreaming [6:18]
3. Simple Things [10:57]
4. Despot [7:26]
5. South Kensington [9:03]
6. Inside Herself [6:23]
7. A Horrific Element [12:02]
8. Sound and Atmosphere [9:14]
9. The Score [8:44]
10. Violence [5:02]
11. Critical Moments [12:18]
12. Mental Limping [5:23]
13. Surrealists [9:12]
14. The Eye [:44]
Director Roman Polanski's first English-language film, Repulsion (1965) is a meticulous and vertiginous descent into madness, with Catherine Deneuve as a young Belgian at war with her inner demons. Deneuve plays Carol, whose aversion to men and tenuous grip on reality come into play when her sister/roommate (Yvonne Furneaux) goes on holiday, leaving Carol alone in their London flat. Don't expect a thrill every minute here. Polanski's masterfully paced film moves ever so slowly into dementia, carefully weaving a portrait of Deneuve's deranged psyche through exquisitely detailed visuals and sounds. Deneuve portrays Carol as a woman in a perpetual daydream, and the apartment literally undergoes a slow metamorphosis as her psychosis deepens. The other performances are equally detailed, full of subtle observations about the interplay between the sexes, with all the men coming off as either creepy, dangerous, or both. Polanski's confidence and virtuosity are apparent in every frame of this superb psychological thriller, and fans of his better-known works (Rosemary's Baby, Chinatown) will find it a riveting cinematic experience. Gregory Baird, Barnes & Noble
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