From there, a constellation of chaos, self-mutilation, and murder that weaves method-style realism around histrionic camerawork, jacked-up performances, and bursts of surrealism. "Possession" doesn't just dazzle, it decimates narrative and logic to cut to the feeling. Critic J. Hoberman called the movie "at once a dread-inducing ordeal, a bloody arabesque and a swooning celebration of Adjani's long, cloaked form in perpetual motion," while Kier-La Janisse, author of the game-changing feminist horror exegesis/memoir "House Of Psychotic Women: An Autobiographical Topography of Female Neurosis in Horror and Exploitation Films," cites the movie as essentially where the work for her book began. "There was something terrible in that film, a desperation I recognized in myself, in my inability to communicate effectively," Janisse writes. "And the frustration that would lead to despair, anger, and hysteria."