Final Day! Must End Thursday, November 8


  • 1:20 3:25 5:30 7:35 9:40

$7 Member   $12.50 Regular




(1965, Roman Polanski) When her sister and her sleazy boyfriend leave repressed Belgian ex-pat manicurist Catherine Deneuve alone in their London apartment, strange things start to happen. Barricading herself indoors after an abusive phone call, she catches someone’s reflection in a mirrored door — then the walls tear open, grabbing hands reach through them, and flies gather in the wake of her would-be boyfriend and buttinsky landlord’s unwanted intrusions. Polanski’s first English-language picture is that rarity: a portrait of the growth of insanity from inside, sans longwinded Freudian explanations. Deneuve, straight from the slightly more cheerful Umbrellas of Cherbourg, is blood-curdlingly believable as the repelled-by-sex heroine, the projection of her nightmares onto the white walls of her lair a brilliant metaphor for cinema itself. With a subtly unsettling Chico Hamilton jazz score, stark b&w cinematography by Gilbert Taylor (Dr. Strangelove, A Hard Day’s Night, Star Wars, etc., etc.) and a wordless final shot guaranteed to haunt, Repulsion is widely considered a “masterpiece, with something repulsive for everyone” (David Shipman). Approx. 105 min. 35mm.



“Excruciatingly tense and frightening! If you’re too scared to look, you can still hear the slashing sounds.”
– Pauline Kael

“A chic, creepy thriller.”
– J. Hoberman

“Gets scarier after you leave the theater and discover how much it’s gotten under your skin.”
– Amy Taubin, Village Voice

“Still Polanski’s scariest and most disturbing — not only for its evocations of sexual panic, but also because his masterful employment of sound puts the audience’s imagination to work in numerous ways. Deneuve gives an impressive performance as a quiet and quietly mad beautician... her fears and her isolation in the apartment are allowed to fester along with the uncooked food, with increasingly violent and macabre results... As subjective nightmare it’s a stunning piece of filmmaking.”
– Jonathan Rosenbaum

 “Perhaps Polanski’s most perfectly realised film... Polanski employs a host of wonderfully integrated visual and aural effects to suggest the inner torment Deneuve suffers: cracks in pavements, hands groping from walls, shadows under doors, rotting skinned rabbits, and — as in Rosemary’s Baby — the eerie, ever-present sound of someone practicing scales on a piano... All in all, one of the most intelligent horror movies ever made, and certainly one of the most frighteningly effective.”
– Geoff Andrew, Time Out (London)