Kim Cannon Arm is a lover and collector of arcade cabinets. He’s also a legend in the world of competitive video games, as he and his friends at Copenhagen’s Bip Bip Bar are all masters at their own games — and unique life skills — while Kim excels at playing Konami’s Gyruss. He’s made it to 49 hours or more on a single quarter, but now, at 55 years old, he has set the goal of playing for a hundred straight hours with only quick breaks on a mattress in the corner. This is more than some kind of quest — it’s a meticulously planned mission aided and abetted by a cadre of true friends.

Director Mads Hedegaard says of the film, “Probably not everyone in the audience has an interest in video games or arcade games, but that’s okay, because you don’t need to – I don’t either. Ultimately, I feel that it has ended up as a film filled with warmth and subtle wit as well as the natural excitement that comes from all record attempts. Will our hero Kim Cannon Arm succeed in the challenge before him? The characters will hopefully over the course of the film emerge as actual people, who the audience will end up caring about, and perhaps also remind the audience that there is more to all of us than is apparent at first glance.”

The players, beyond Kim — who is a laboratory technician, a grandfather and has a beyond world-class mullet, include epistemological rationalist, Bach student and Donkey Kong player Carsten, poetry slam and Puzzle Bobble champ Dyst, data analyst and Donkey Kong champ Svavar, tech and musical wizard Emil, The Shed arcade owner Trier and Bip Bip Bar owner Chrisstoffer.

Yet this film is about more than just video games. It’s about who we are in the world, what we leave behind, quantum physics and pattern recognition and what friendship can do. I totally expected nothing from this film and was astounded by the energy and emotion that it imbued within me. What a treat!

As the director said, “The film is my little tribute to these people, who in their own quiet ways are larger than life. I hope that the audience will go and see the film with their friends, their significant other, or perhaps even with their mother, if they are in need of a life-affirming and touching experience. And I hope that people will leave the film feeling uplifted, with a bit of food for thought to talk more about, and a warm feeling in their stomach.”

Seriously — some of the most mind-opening and happiness-inducing cinema I’ve seen this year.

Cannon Arm and the Arcade Quest is playing Fantastic Fest this week. When it’s available to a larger audience, we’ll update this post.

In the time that you’ll read this, Mickey Reece may have already made a new movie. For four years in a row, he’s had a debut at Fantastic Fest. You may have seen his Climate of the Hunter a year or so ago — time no longer makes sense, so it could have been months — and the first moments of this movie seem to rail against the slow boil of that movie by starting with a profane cake throwing rant by its titular character, Sister Agnes (Hayley McFarland, The Conjuring).

For the first half of this film, I was fairly riveted by a tale that combined the Byzantine — or Roman, right? — politics of the Catholic Church as it struggles in the dawn of a new century, even as the possessions that defined the old church and the exorcisms that became pop culture decades ago rear their head again.

As she serves at St. Theresa’s convent — which remains rooted in the old ways of the church, with nuns not allowed to leave the grounds and men being limited — she finds herself in the grip of something demonic. But what has she done other than upset the natural order and asked her fellow sisters to confront who they are? Well, yeah, and foam at the mouth. One could arhue that Mother Superior (Mary Buss) is the real power destroying the lives of these women.

Father Donahue (Ben Hall) has been selected by the powers that be — he was sure they’d caught on to his secrets and crimes — to exorcise the demon that he doesn’t believe in, bringing along an acolyte named Benjamin (Jake Horowitz) who is the one person in the film that seems actually close to the divine. Donahue continually harangues the young not-yet-a-priest, demanding that he look into his heart to determine whether or not God offers him the life he really wants to live. This is an interesting take — the priest at the end of his road and the young man just starting his first steps.

But like much of this film, it’s a fleeting notion. Donahue’s half-hearted exorcism ends with his nose being bitten off and blood covering everyone, leaving him no choice but to call in Father Black (Chris Browning), an excommunicated priest who has created his own cult of personality, complete with him being bound to the demon Bune — who in the Lesser Key of Solomon we learn is a duke of Hell with the ability to move the dead, make people rich and answer a variety of questions — and a beehive-hairdo-having, chain-smoking henchwoman who really deserves her own movie. If this entire moment of the film feels like it came straight out of El Dia de la Bestia that’s a compliment.

Just like every man in this movie, his exorcism is pretty ineffectual and feels cobbled together from every Italian ripoff of The Exorcist, such as Enter the Devil and The Return of the Exorcist. And then, when all seems lost, the film dissolves and becomes an entirely different film after Agnes and Mary (Molly C. Quinn, We’re the Millers) have a moment that’s more arthouse than Alucarda and suddenly the film becomes her story, cast down from a world of faith into the magicless world that we live in today, a place where hack comedians (Sean Gunn) let you down, where bosses demand sexual favors in the stockroom of grocery stores, where rent goes up, where even a demonic voice and being possessed yourself can barely change things. However, the return of Benjamin, now a full brother in Christ, may give her the faith — or at least a momentary respite — that she needs.

There’s a theme of losing love — a lover, a child — and having to turn to God even to discover that that may not be enough that runs through this movie. But the narrative shift and the lack of focus near the end of the film — it gives up on a been there, done that exorcism story with some new wrinkles to, well, tell another story that feels like we’ve been told before — damn the efforts.

It looks great. It sounds amazing. But I get the feeling that by the end, Reece was already bored and thinking about what he was going to make next instead of finishing this one off. It’s so disappointingly close to a movie that I’d tell people to watch but you can’t make a recommendation like “watch the first forty minutes” or “fast forward a bunch” because that’s not a recommendation, it’s a litany of excuses.

17 year old me discovered Gwar and life finally made sense. What other band outright claimed that they were going to murder you when you saw them in concert? Coming from space, destroying the ozone layer, that had game shows on stage that gave the people what they want — “the senseless slaughter of the gutter-slime that litters this nation for cash and prizes” — and could somehow turn lyrics like “you know I snuffed a million planets, but I still find time to cry” into a tender ballad?

Gwar went on Joan Rivers and made fun of everything thrown at them. And in a world that didn’t make much sense, they made sense. It was a badge of honor to see them in concert. Sure, the band has changed — I haven’t kept up honestly since Oderus went on to the next world because it just doesn’t feel the same — but I’m glad they’re still out there.

Director Scott Barber has put together the interviews and stories that form the real story of Gwar and by and large, it’s intriguing stuff, punctuated by stories by celebrity fans like Weird Al, Thomas Lennon, Bam Margera, Alex Winter and Ethan Embry.

As an art collective with a 35-year history, there’s plenty to learn here about how some art school punks went from playing small shows to becoming an industry. Of course, personalities clashed, egos grew and the band may not have lived up to what some members wanted it to be. By the end of the first sixty minutes, the doc starts to grind a bit, as various members feel the urge to tell you exactly how much they contributed even if they weren’t onstage. I understand, as this may be their one opportunity to do so.

A major oversight — in my eyes — is that no mention at all was given to new singer Vulvatron, played by Kim Dylla, who was in the band from 2014 to 2016, leaving under not the best of terms. Perhaps by the end of the film, everyone was tired of the constant drama that was getting dredged up. But for a band with previously only two female members, this felt like a glaring omission.

Even if Gwar’s music isn’t for you, you can hopefully appreciate their sense of humor and the fact that they took their art beyond expectations. They still do.

This is Gwar debuted at Fantastic Fest this week. When it becomes available for streaming, we’ll update this post.

Written and directed by Sarah Appleton (who has worked on many documentary shorts and DVD extras, as well as being the cinematographer of Woodlands Dark and Days Bewitched: A History of Folk Horror) and Phillip Escott (who wrote and directed Cruel Summer), The Found Footage Phenomenon has done the impossible: take a genre that I saw no value in whatsoever and prove to me that not only its merit, but also showing me moments of films that I love that relate to the found footage genre.

The film looks the whole way back to Bram Stroker’s Dracula as an early use of found footage, as the letters and documents in the story were a way of making the unreal real. Other points in the genre’s creation were within Orson Welles’ War of the Worlds broadcast, the film within Peeping Tom and perhaps the first movie that claimed to have real footage as its central narrative, Cannibal Holocaust. There’s an astounding moment here that asks us to check our morality at the door and realize that if we recontextualize the animal violence within that film, we see that by placing it next to special effects, we started to wonder what was real and what was a movie. And that’s really at the heart of what all found footage is.

If there’s a creator that has made these films, chances are they show up here. Everyone from Mr. Cannibal himself, Ruggero Deodato to Troll Hunter director André Øvredal, Blair Witch creator Eduardo Sánchez, Jaume Balagueró of (REC) fame, Kōji Shiraishi, Aislinn Clarke, Patrick Brice (who made Creep and also has There’s Someone Inside Your House premiering at Fantastic Fest), Rob Savage, Ghostwatch‘s Leslie Manning and Stephen Volk Michael Goi, The McPherson Tape‘s Dean Alioto and The Last Broadcast‘s Stefan Avalos and Lance Weiler — along with several writers and critics — gets the opportunity to share their found footage love and knowledge.

Whether you love these films or — like me — you greatly dislike them, this documentary is engaging, entertaining and even mind-altering. Well done.

The Found Footage Phenomenon is playing Fantastic Fest this week. When it is released, we’ll update this post with information on how you can watch it.

Based on the book by Stephanie Perkins, this Patrick Brice-directed (Creep) film is exactly the kind of movie for people who wish that the 90s and early 00s slasher boom never ended. Seriously, this film has major vibes of I Know What You Did Last Summer and if that’s a good thing for you, then this is exactly the kind of comfort food that you’re going to absolutely devour.

Makani Young has moved from Hawaii to Osborne, Nebraska — there’s a secret as to why — to live with her grandmother and finish high school. Yet as the school year grows closer to graduation, the secrets of her classmates become fair game to a killer who exposes them and then murders them while wearing a 3D printed mask of his victim’s face.

Starting with an ankle slashing worthy of Pet Sematary, the film has some nice setpieces like a party where everyone reveals their shameful skeletons in an attempt to take away the power of the killer. Complicating things is that Makani’s love interest just might be the killer.

The intriguing thing is that the victims aren’t the put-upon outcasts, but the popular kids, the ones who bullied everyone in their path. And the gimmick of each person worrying that their own face will soon come their way with murder in their eyes, well, that’s a pretty great idea that’s well-used by this film, which is not shy about showing off some violent kills.

The writeup for Fantastic Fest said that this film is “Smart, woke, but utterly cynical, these kids know the tropes they’re operating within, aware of their particular chances of survival based on their race, sexuality, and socioeconomic status.” And I guess there are some audiences that will cheer that sentence. There are others that enjoyed Scream and will be excited to watch a film that has the same energy. And there are still others who will yawn and just put on The Prowler again.

There’s Someone Inside Your House premiered at Fantastic Fest and will debut on Netflix on October 6,

Alex van Warmerdam, who also made Borgman and Schneider vs. Bax, has really made one of the strangest films I’ve seen at Fantastic Fest, which is a real testament. That’s because it starts like some sort of highbrow art film, as a director worries about the opening night of his new play. One of the actors has a dying wife and can’t keep his mind on his lines. And speaking of wives, the director’s wife is currently having an affair with Günter, the lead actor, whose daughter Lizzy has just discovered that she has a rare disease. And oh yeah — he thinks that the world is against him.

And then everything changes on a level that doesn’t just change the story of the film, it fundamentally changes the way that everyone on Earth views the entire universe.

If you want to be as surprised as I was stop reading right now.

When Günter was four years old, he was found alone in a German forest. Raised by a foster couple, he’s never wondered about his past until a man walks up to him in the street and utters the  phrase “kamaihí.” Now, he wants to know exactly who his mother is. And he wants to know what that word means. And he wants to know why so many Catholic priests are following him.

Seriously, this movie does beyond a rug pull. It changes not only the story but the viewer. I know that sounds like pure hyperbole, but that’s what this movie deserves. I watched the last scene several times and blown away by just how audacious it is.

While Nr. 10 has just debuted at Fantastic Fest, this is a movie that you need to mark down on your watch list and get ready for when it’s released. I really don’t want to say much more, because I feel like you owe it to yourself to be surprised.

Kato lives above the shop that he owns in Kyoto, Japan and spends whatever time he has left after working playing in a band and thinking of the Megumi, who works at the shop next door. Somehow, in the midst of the ordinary that is his life, Kato learns that the computer screens within his cafe and apartment allow him to receive messages from himself two minutes into the future. Calling this strange experience Time TV, Kato and his friends begin to explore what they can do with this power.

Years ago at San Francisco MoMA, there was an installation that captured moments of time as you walked through it and redisplayed the time that you appeared and interacted with the art, so that it seemed like you were appearing and disappearing at times that didn’t match up to your short term memory. It was incredibly disconcerting and probably what Kato feels like as he shouts messages to multiple versions of himself minutes apart from one another.

Somehow, this movie was made with an iPhone, some Apple TVs and the amazing directing, editing and cinematography of Junta Yamaguchi. This comes from Third Window Film, who also made One Cut of the Dead, and this continues their one cut style, as the film seems to be one continuous shot, which is astounding when you get to the scenes where mirrors extend the future messages into the near-infinite (or at least ten minutes).

This movie absolutely flies through its near 70 minutes but it never feels too fast, never gets boring and gives plenty of time for its characters to display emotion, heart and the joy of discovering something strange and new — pretty much just like any viewer who tracks this down.

Beyond the Infinite Two Minutes debuted this Thursday at Fantastic Fest. When it becomes available for streaming, we’ll make sure to adjust this review so that more people can track it down. You can learn more about this movie at the official site.

EDITOR’S NOTE: During Fantastic Fest, one of my favorite films of all time is getting shown as it should be, on the big screen — The Visitor — which we originally wrote about on September 1, 2017. It will be presented in conjunction with the launch of Mondo’s new book Warped & Faded: Weird Wednesday and the Birth of the American Genre Film Archive, from author Lars Nilsen and editor Kier-La Janisse. Warped & Faded tells the story of the Wild West days of the Weird Wednesday film series and the American Genre Film Archive in the words of the people who were there. You can pre-order the book from Mondo HERE!

In 2013, when the Alamo Drafthouse presented the uncut version of this film for the first time in the United States, they referred to it as an “unforgettable assault on reality.” Those words best describe what is otherwise an indescribable film.

But I’m going to try.

Maybe a recipe will help.

Take Chariots of the Gods, and some of Rosemary’s Mary, then a little bit of The Omen, throw it in a blender and then pour the whole thing down the sink.

No? Maybe a synopsis.

We start in Heaven, or somewhere very much like it, where Franco Nero (the original Django) is one of those space gods that Erich von Däniken wrote about. He tells the bald children who surround him that there was once a war between two aliens, one good and one bad. The bad one — who is either called Sateen or Zathaar — was defeated, but not before he slept with a whole bunch of Earthwomen. Cue the Book of Enoch in the Lost Books of the Bible. Or cue the Scientology myth of Lord Xenu. Or Xemu, because he has two different spellings, too.

Only one child is left — a young girl — and a vast conspiracy wants her mother to have another child — a brother this time — so they can mate. The Christ figure sends John Huston — yes, the director of The Maltese Falcon and The African Queen — and the bald children to a rooftop somewhere in Atlanta to stop this plot. To do that, the children become adult bad men and dance around a lot while Huston walks up and down the stairs to triumphant music. If you think I’m making that last sentence up, you’ve never been blessed with this movie.

Meanwhile, Lance Henriksen (Near Dark, Aliens) is Ted Turner, pretty much. His name is Raymond Armstead and he owns the Atlanta Rebels basketball team that plays at the Omni and is dating Barbara (Joanne Nail, Switchblade Sisters), who of course is the woman who has the seed of the gods inside her. Her daughter Katy is 8 years old and already using her powers to help the Rebels win their games. But that isn’t all the help Raymond is getting. The rich, powerful and ultra-secretive Zathaar cult control the world and are helping his team become winners. All he has to do is marry Barbara, knock her up and let their kids fuck. Hopefully, they have a boy, or Raymond is gonna have to get in the saddle all over again.

Raymond can’t even do that right and the leader of the bad guys, Mel Ferrer(The Antichrist and Eaten Alive!) is upset and ready to quit on Raymond. Barbara doesn’t want more kids and certainly doesn’t want another child. But who can blame her? Her daughter is one creepy little girl. Her daughter knows all about the conspiracy and begs her mom to get married so she can have a brother (and this is where, in person, I’d throw in “…to have sex with” but I’d use the f word). How creepy is Katy? Well, she kills a bunch of boys with her mental powers because they make fun of her while she ice skates. And then she accidentally shoots her mother at a birthday party. Yep, it’s as if The Bad Seed met Carrie!

Then, as all 70’s occult movies must, the stars of Hollywood’s golden age make appearances!

Glenn Ford, the actor, plays a cop that Katy curses out and uses hawks to make wreck his car!

Shelley Winters plays Barbara’s nurse who once had one of the space babies and killed it, but can’t bring herself to kill Katy! According to interviews, Winters really smacked around Paige Conner, the actress who played Katy!

Sam Peckinpah, the director (!), plays an abortionist who removes one of the space babies from Barbara after the conspiracy pays a bunch of things to artificially inseminate her. Turns out Peckinpah had trouble remembering his lines, which is why we never learn that he’s Barabara’s ex-husband! Then is he Katy’s dad? Who knows! His voice is even Peckinpah’s! They had to ADR all of his dialogue.

In response to the abortion, Katy shoves her mom through a fish tank. She also decides to throw her down the stairs, Whatever Happened to Baby Jane?-style. And by throw her down the steps, I mean do it over and over and over again.

Meanwhile, John Huston is still going up and down the stairs. Finally, they HAVE HAD ENOUGH (I like to emphasize that so you get the gist) and sent their John Woo-ian flock of doves to fight the hawks. And meanwhile, Mel Ferrer and all his men show up dead with black marks on their bodies.

And Katy? Well, as Huston tells us, kids can never be evil. She gets her head shaved and goes to space to meet Instellar Jesus Christ. The title comes up as insane music blares.

Writer/director/insane man Michael J. Paradise (Giulio Paradisi) also was in Fellini’s 8 1/2 and La Dolce Vita. What inspired him to this level of cinematic goofiness? He was helped along by Ovidio G. Assonitis, whose resume includes writing Beyond the Door, Madhouse and Forever Emmanuelle before becoming the major stockholder and CEO of Cannon Pictures in 1990. That may explain some. But not all.

I know I often write things like “I don’t have the words to describe this” when I do these reviews — especially after I write a few hundred words all about said subject. But this is one time that that statement is not pure hyperbole. Just watch the trailer and be prepared to lose your grasp on normalcy!

The Visitor defies the logic of good and bad film. It can only be graded on the is it an absolute film, ala Fulci or Jodorowsky. It is something to be experienced. You can watch this movie on Tubi.

EDITOR’S NOTE: In celebration of its 35th anniversary, the 1986 BMX racing film Rad will return to movie theaters nationwide on Thursday, October 14 at 7:00 p.m. courtesy of Fathom Events and Utopia. Featuring a new 35th-anniversary restoration, fans will see — for the first time — A Rad Documentary – Inside the BMX Movie That Changed Everything, which has never-before-seen interviews with the cast and crew and behind-the-scenes footage.

Tickets for Rad 35^th Anniversary can be purchased online at www.FathomEvents.com or at participating theater box offices beginning September 17. 

There was also a Rad stunt show and premier tonight at Fantastic Fest. While we couldn’t be there in person, we couldn’t resist sharing this review again, which originally ran on December 9, 2020. We’ll see you in the theater on October 14 and on Helltrack!

If there was one movie that was hard to rent at my neighborhood mom and pop video store, this would be it.*

Leonard Maltin gave this movie his dreaded BOMB review, comparing it to 1950’s car race and 1970’s roller disco movie films. Yeah, Leonard. Wondering why everyone liked it so much?

Shot in Alberta, Canada — look for a young Robin Bougie from Cinema Sewer — this movie may have failed in theaters. but like I said above, it was a top rental film for what seems like forever.

Cru Jones has two choices: take the SAT in order to attend college or race Helltrack, which could mean $100,000, a new Chevrolet Corvette and fame. His mom, Talia Shire, whines so much that you wish that Stanley Kubrick would arrive to cause PTSD to take her out of this film, but no, she just cries that he’s throwing away his future. He is, near-fifty-year-old me can tell you, but have you seen Helltrack?

The thing I never understood about this movie was how could Mongoose have allowed themselves to be portrayed in such a negative light? They were such a big BMX company and in nearly every scene, their owner Duke Best is out to get Cru and to push his own rider Bart Taylor.

Before she went to jail for that college scam, Lori Loughlin played the tough tomboy that the hero fell in love with. Here, she’s Christian Hollings and she BMX bike dances with Cru, setting hearts aflutter. For more Laughlin roles like this, see Secret Admirer and Back to the Beach.

The evil Reynolds twins who try and destroy Cru on Helltrack grew up to be Chad and Carey Hayes, the writers of the remake of House of Wax, as well as The Conjuring movies.

Man, this movie still leaves me with so many questions. How could the town raise $50,000 so quick for Cru? How does he have the money to sign up Bart when he gets kicked off the Mongoose team? Why did my grandparents buy me a Schwinn that weighed as much as a Harley when all I wanted was a BMX bike?

This movie wasn’t on DVD or blu ray for years until Vinegar Syndrome did a limited release. It’s streaming now, so you can finally legally watch it.

Also, look for pro wrestler Hard Boiled Haggerty, who yells to our hero, “Go balls out!” before the Helltrack** race. That was the film’s original title.

This was directed by Hal Needham, who also made so many stunt heavy movies like the Smokey and the Bandit films, Stroker Ace, Body Slam, Hooper, Death Car on the Freeway and, of course, Megaforce.

*Other movies that fit this bill are Thashin’, The Dirt Bike Kid and The Toxic Avenger.

**None of the stunt racers could complete a lap of Helltrack, with major worries about the giant hill that starts the race. The entire scene took two weeks to film.

Director and co-writer Andrzej Żuławski’s only English language film, Possession is the only section 2 video nasty that has a lead actress, Isabelle Adjani, who won the Best Actress award at the Cannes Film Festival.

I often think, “Man, it would be awesome to act in a movie or be part of one,” but at no moment during this movie did I wish that I could be on the other side of the lens. Written during the painful divorce of Zulawski with actress Malgorzata Braunek, this is the very definition of a rough watch.

So what the hell is going on here? Is Anna going insane? Is Mark (Sam Neill) unable to escape their breakup? Are they both dealing with things their own way, and by that, I mean Mark replacing his wife with a subservient drone of a woman (also Adjani) while Anna grows her own Mark in a jar? Is this all happening in a dream? Or are all the dead bodies, grocery throwing freakouts and electric knife mutual self-mutilation sessions really happening? Is it really about Zulawski divorcing himself from Poland? Or maybe as it was made in a still-divided Berlin, is it hopeful about the destruction and rebirth that will come from the tearing down of the Wall?

Zulawski went into this movie wanting to kill himself, as his wife had left him (the scene where the child is left alone for hours and the husband comes home to discover his son naked and covered in jelly is autobiographical) while the strains that Adjani put herself through left her in the throes of massive depression and suicidal thoughts, which the director confirms that she acted upon but survived.

Neill would later say, “I call it the most extreme film I’ve ever made, in every possible respect, and he asked of us things I wouldn’t and couldn’t go to now. And I think I only just escaped that film with my sanity barely intact.”

Mark is a spy home from the cold, yet he returns to a wife who no longer wants to be part of this relationship. She can’t tell him why – it’s not a new lover – but she doesn’t want him any longer. He wants out of the espionage life, even if his handlers seemingly refuse to allow him that choice. Yet she does have a lover – Heinrich – who is not only cucking Mark but easily bests him in a punchup. He in turn attacks his soon-to-be ex-wife and then they take turns attacking one another and themselves with the aforementioned carving knife.

Anna also has a second apartment and another life, a tentacled creature that lives with her, and a room full of destroyed body parts, which soon include the detective that Mark has hired to follow her and that detective’s lover.

Before long, the love that exists – or doesn’t – between the married couple consumes everyone, sometimes in fire, sometimes in bullets, sometimes in knife wounds, sometimes just one another on the kitchen floor.

That tentacle thing – credit goes to Carlo Rambaldi. You know, I just saw A Lizard In a Woman’s Skin at a crowded drive-in and even horror-hardened viewers audibly gasped when his creation of still alive dogs torn apart flashed across the screen. Between that, Alien, Deep Red, A Bay of Blood and so many more, I find it rather life-affirming that the same man who created so many nightmarish visions also had a hand in creating E. T.

At one point, Mark says, “You know, when I’m away from you, I think of you as a monster or a woman possessed, and then I see you again and all this disappears.” This is the most real moment inside a film filled with a cavalcade of fantastic imagery. Tearing apart the life you once had for the promise of something new that may not be as good or may take a tremendous amount of emotional work is the most frightening thing I’ve ever done in my life. Possession gave me flashbacks to those moments where the world felt like it was ending every day, where I felt like a monster and when the only person you could confide in became the person you could never speak to again.

Man, Possession is not an easy watch. Just warning anyone of that going in. But hey – movies should not be just wallpaper. They should attack you. They should change your consciousness. They should take your psyche like a rock tumbler and slam you against the walls over and over until you emerge better.