A stunningly crafted, slow-burn portrait of a person on the brink of madness

This is a spectacular achievement from a young filmmaker. One of the most accurate depictions of a person’s descent into psychosis. Catherine Deneuve delivers an impressive performance. The impact is not in hysterics. We can see that this person cannot assess reality anymore. Putting a dead body in a bathtub or behind a sofa doesn’t render them invisible. Tubi has a nicely restored copy.

Filme bacaninha, o roteiro é mais ou menos, parece que o filme mostra uma garoto com medos de ser tocada, teve duas cenas cenas que ela mata dois caras um foi com uma moderada na cabeça várias vezes e o outro uma faquinha pequena. Eu nem sei se recomendo esse filme.

Roman Polanski co-wrote and directed this psychological thriller. Catherine Deneuve plays the lead role. The film is said to be Polanski's debut English-language feature. The story is about Carol (Catherine Deneuve), who suffers from schizophrenia and lives with her older sister, whose married lover occasionally stays at their flat, which annoys Carol much. She dislikes seeing his toothbrush and razor in her bathroom glass. She is not interested in a young man who is madly in love with her and wishes to spend time with her. This solitude and dread cause her to experience hallucinations and spiral into madness. Carol is a quiet person, but not in the way that some people are. She is attentive to her elder sister, although she can be obstinate at times, such as when she does not want her sister's boyfriend to remain in their apartment, much alone use the shared toilet. Carol's sister definitely serves as an interim remedy to stop her fall into madness. Because as soon as her sister left for Italy to see the Leaning Tower of Pisa with her boyfriend, Carol began experiencing hallucinations and paranoia about certain individuals, particularly men. The notion that Carol's past is beginning to haunt her is distracting, because the past has always accompanied her. Catherine Deneuve delivers strong performance. This is meant to be the first film in Polanski's trilogy of apartment movies (Rosemary's Baby 1968 - The Tenant 1976). The cinematography in the film is typical of European-style movies. It is not boring, but not for those who want to see a happy conclusion.

Great psychological-horror film

The first English language film from cinematic auteur and reviled human being Roman Polanski, Repulsion uses a very unconventional approach, including limited music, extensive closeups, tight sets and a mix of reality and surrealism to tell a story of a mentally disturbed woman going through one of the most elaborate psychological breakdowns ever filmed. The film feels very empty in places, and its clear that many scenes and evens shots have been overextended to achieve a feature length runtime. It’s disappointing that we get to know so little about our lead, and as a consequence her mental tribulations have less emotional impact. She’s very much a blank slate, with virtually no personality or identifiable traits. Her entire character description could be written on the back of a stamp, and it really undermines a committed and intense performance from Catherine Deneuve. But the imagery of the film is what stands out. The way the film represents a tortured mental state, a world where nothing makes sense and everything that happens has you on edge. It might not be Polanski’s best film, but it’s an interesting window in his filmography, and a decent way to kick off his so called Apartment Trilogy.

Catherine Deneuve’s greatest performance comes in this Roman Polanski classic

Roman Polanski's first film in English was an effort to play Alfred Hitchcock; without emulating it, of course. The atmosphere and the background score perfectly synthesize a plummet into madness.

A slow movie with a simple premise. Though it was fascinating to watch. The director took his time with every shot, creating a much more voyeuristic feel than a typical movie. The long, gently moving takes were particularly engaging. You do need to put up with a meandering first stanza, but the movie does pack a lot more punch near the end.

Brings you a churning feeling in your stomach every time you watch the woman lose her sanity. Intense cinematography and disturbing imagery gives us an other-wordly feeling of fear. By the end, we too are repulsed and shocked at what we just witnessed.

Polanski. Immediate, awful taste in my mouth. Reminds me of everything bad and awful. Charles Manson. Rape. Paedophilia. And yes, he is a paedophile. This is undeniable. Watching a work of art created by a criminal of a moral ranging from low to entirely unacceptable is always difficult and has to be done with a lot of caution, where it aligns with your morals and ethics. But on the other hand, so many artists of every kind have been outed having done reprehensible things, it becomes almost impossible to enjoy any creation if you do not wear the glasses of future past. We are trapped in the world of immorality, "wearing rose coloured glasses so that all the red flags look like flags." Cancel culture does not exist, and there isn't a single person in the world who doesn't get new chances. Polanski, just like many other paedophile rapists, continues to receive honors and job offers from above, despite the very many vocal protests from the public. The incredible irony is that the film "Repulsion" is about a woman terrorized by men, some of whom have her in some sort of power (like the landlord.) And perhaps even more ironic are the reviews written by men, speaking of the "decent admirer whose honest love might be exactly what she needs." It brings into the question whether everything we are seeing are her hallucinations, but being a woman myself, I really cannot help but experience everything in this movie as reality in some way or another, including the doubt that it brings into whether or not this is real - as this is something that us women are awfully familiar with on a mass scale. Scrubbing all of that off of our brains, there is no denying that this film is highly influential. So many modern horror classics like "It Follows", "The Babadook" and "Hereditary" cite as having this film being one of the influences, where some influences are a lot more on the nose than others (rabbits and pigeons and wall hands, oh my.)

What "Repulsion" really succeeds in is the depiction of the protagonist's mental unraveling; Catherine Deneuve is very convincing as the listless Carol, the explicit and insinuated themes are hefty, and the photography and production design are suitably nightmarish. However, the narrative is pretty limited and even repetitive, the character insight is scarce, sometimes hallucinatory moments disrupt otherwise perfectly realistic scenes, and all in all the film never manages to truly captivate.

Polanski's first english work. Very young Deneuve did a challenging role here. French in London. There are some hallucination scenes, but this is a decent psychological paranoia drama/thriller rather than horror, I think. Again, I like the effective use of sound effect and jazzy score in his film.

Anyone expecting a standard horror movie when sitting down to watch Roman Polanski's Repulsion is going to be sorely disappointed. Young Carol (Catherine Deneuve) has some pretty serious social anxiety issues, periodically slipping into a catatonic state and, more relevant to how things pan out, abjectly terrified of men. When left alone in her sister's apartment, her mental condition begins to deteriorate significantly, leading to some pretty horrific behavior. Polanski's direction is pretty much spot on throughout, establishing an uncomfortable atmosphere via his choices regarding the cinematography (odd angles, some effective use of the handheld camera) and sound (plenty of white noise interrupted by the ticking of a clock or the ringing of a phone). While it's not a horror film per se, it does effectively chronicle a woman's descent into insanity and is nothing if not unsettling.

Alike in "The Texas Chain Saw Massacre" and in "Nightmare Alley (1946)", the antique film admirers would cancel me if this review reach one of them. I recognize the positive stuff here, like the gradual paranoia of the protagonist is well built, Catherine Deneuve gives a good performance, and the black-and-white cinematography helps to build a tense environment. This film would not work if it were in colour. My main problem here is the simple fact that the movie is boring. Deneuve gives a good performance as someone gradually losing her mind, someone whose sanity is being more and more doubted every second, but otherwise, her character is monotonous, antipathetic, homicidal and, honestly, not even beautiful. The other characters are superficial and forgettable, so I won't lose my time talking about them. And the rhythm is too slow, there are some moments that I sank into boredom almost proportionally as the protagonist sank into depression. The film really shines in the third act (where Carol's paranoia reaches its peak), but the ending was quite anti-climactic. Sorry, Roman Polanski, it didn't make my type.

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Way too slow, first half was not scary

the sound effects are good and the cinematography too, after that it's not such an exciting movie to watch these days

"Next time you forget, maybe you'll let me know." Claustrophobia, anxiety, hysteria: a misandrist's descent into ultimate madness. The 20th Century schizoid woman is roomies with her slut sister. She's growing increasingly upset with her sister's antics with men. The sister travels to Italy with a married man, while the crazy woman goes increasingly mad, expressing her looniness violently both at work and in her personal relationships. Upon the sister's return she is shocked by the state of their apartment, bearing all the marks of the abode of the insane. The foggy, fuzzy camera tricks used to convey what she's feeling were probably cutting-edge at the time, but I found them to be nauseating, though the choice to use black-and-white was good. Interesting, for sure, and probably much more shocking at the time of its release, I was not at all compelled to believe the actress' antics at all.

Carol (Catherine Deneuve) is a shy Belgian manicurist in London. When her sister leaves on a holiday with her lover, Carol begins to break down in the isolation of the apartment, leaving a few bodies behind.