The act of artistic creation and Evil lurking deep within humans are the two constant that alternate, collide, and fight in Roman Polanski’s cinema. Sometimes, Evil gets picked, demonic Evil that helps your art career (Rosemary’s Baby, 1968). Other times, it is Art rescuing people from evil (The Pianist, 2002).
Murky black thrillers, the supernatural, though also surreal comedy and period drama: Polanski touched, over the course of his long career, many traditional film genres with an intimate vision that is often ruthless and pessimistic, no way out in sight.
His obsessions, whether innate or caused by life events, filter through his work, which probably acted as a release and means of atonement for the pain suffered and the suffering caused. His filmmaker’s eye remains, by all means, one of the most original ever.
Polanski drives many of his stories back to the origin of evil, which identifies with the individual: weak, frail individuals at the mercy of incontrollable events. His macabre style permeates all his work.
The last night of the millennium – December 31, 1999 – at the Palace Hotel, a luxury hotel within a castle in the snowy Swiss Alps. For this special New Year’s Day, the hotel will be welcoming rich, odd people who are looking forward to an extraordinary, unforgettable ni...
Sexophobia, hallucination, and delirium bring about the most extreme forms of violence.
A supernatural Faustian parable in capitalistic key on the achievement of success at all costs.
An unconventional noir that blends reality and fiction in a breath-taking story.
Kafkaesque circular nightmare masterfully directed.
Human annihilation in a whirlwind of violence, seen through the eyes of a Holocaust survivor.
Machination and deceit in the highest rungs of British politics.
