Though this review could be identified as an effectual overview, I'm a bit disappointed that the author is talking much about the images (which are extremely impressive and metaphorical indeed, no doubt - when did Zulawski film no impressive images?) but didn't mention the more important "dialogues" (this one was the first Zulawski I watched in which the talk seemed to be more significant than the silence). Somehow, these "dialogues" reminded me of the essayistic talk in Godard's "Notre musique" as every sentence has got its own meaning and so, there is no real dialogue. Of course, it is hard to describe this phenomenon (otherwise I would just quote some of lines as an example here) as the whole script seemed like a chaotic, unstructured collection of despaired comments, pulled out without any stylization, directly and non-philosophical, but it would've been a fortune to mention that. When I watched "The most important thing: Love" as my first Zulawski (with the upsetting "Possession" following) I already supposed the director to be a difficult artist but in front of "On the silver globe", this seems like an understatement. I won't believe anybody who tells that he got it - of course, you can get it, but only in a way which could be compared to Lynch, Tarkowsky, Jodorowsky or Argento which means that the film doesn't want to be understood but to be re-shot in your head, coloured with your individual paint.

Anyway, have you seen it in the meanwhile, arsaib? Don't worry about the images - my version was in pretty bad state and loaded with VHS-damage (though in the correct AR of 1,66:1) but the film didn't lose any of its strength. 

BUT... the author of the upper review seems to share some humerous bits with me:

Quote:1981's Possession, a portrait of dissolving marriage that involved a Carlo Rambaldi monster and a measure of procreative-sexual unease that makes David Cronenberg look like Nora Ephron

Great comparison...

I guess I have to give the film to A, so he can join the discussion with his enthusiastic comments (or not. )