But this is no Kramer vs. Kramer .
Yes, this is a horror movie about divorce—where the “monster” is grief, infidelity, and the destruction of the self. You don’t watch Possession ; you endure it. And no scene encapsulates that better than Adjani’s legendary subway corridor breakdown.
In a single, unbroken take, Anna walks through a narrow, tiled tunnel, drops her shopping bags, and begins to convulse. Milk and blood pour from her body. She laughs, screams, and collapses in a spastic, orgasmic fit of despair. It is not acting. It looks like possession.