Repulsion

Polanski
use of slow film, not so much low key lighting as shadows. Dark walls, often light centre of the room/ face
gives it very precise look, particular
extensive use of close up, tracking. Tight framings
use of zoom lens inside the house, tracking there
but the use of zoom ins, then zoom outs. Relentless pace mirroros rot we see in the shots of the organic
slow pacing, long scenes (couple of faster cuts earlier on)
really beautifully economical, simple, creates subjective space
but these long zoom outs in the flat, along with some wide angle work on occasssion do give a sense of the house; as do some wonderful simple, long tracking shots
expressivism in some of the long, deadpan shots of static objects
in so far as they seem to loom, have abstract angles
amazing can get away with such long shots of objects, shows use of tone
suspense; nearly every shot, nevermind scene, has competing cases where the audience knows more than one / all the characters. Use of knives etc. Build up, as well as with general claustrophobic atmosphere
use of offscreen sound to signify subjectivity of invading/ alien forces
harsh use of modernist breaks to underline action
Deneuve is wonderfully gnomic, Bressonian, communicability
seems at once to live in a rotting world, but wants to fall into it and
use of everyday surrealism, deadpan, humour
use of wide angle dreams too, unnerve, questioning how much is 'really' happening
men/ sex / money triad, men out of their depth
clock; time passing, jumping camera at end / decay/ rotting of time
Polanski throws the kitchen sink, thrown up a genuinely exhillirating film, emotionally and formally
way more than just completely nuts melodrama, which it is; technically electric
influences of Bunuel in simplicity and surrealism of everyday, Bressonian focusses on body and sound, Hitchcock most obvious, suspense plus violence, sex, money