Arbelos’s restoration is so gorgeous that the film’s seven and a half hours slip by as smoothly as Tarr’s majestic long takes.
Even with little prior knowledge of Possession, the viewer is informed of its potential as exploitation horror in Carlo Rambaldi’s opening credit.
Slowly, we’re informed of every betrayal and lie, of every deceit in a community that relies, ironically, upon faith.
Fitzcarraldo is the preeminent testament of Herzog’s labor as a filmmaker.
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