ROSEMARY'S BABY (Roman Polanski, 1968) (Magdalen Auditorium, 7:30pm Monday 5th Feb)

A supremely intelligent and convincing adaptation of Ira Levin's Satanist thriller. About a woman who believes herself impregnated by the Devil (in the guise of her husband), its main strength comes from Polanski's refusal to simplify matters: ambiguity is constant, in that we are never sure whether Farrow's paranoia about a witches' coven is grounded in reality or a figment of her frustrated imagination. Sexual politics, urban alienation, and a deeply pessimistic view of human interaction permeate the film, directed with a slow, careful build-up of pace and a precise sense of visual composition. Although it manages to be frightening, there is little gore or explicit violence; instead, what disturbs is the blurring of reality and nightmare, and the way Farrow is slowly transformed from a healthy, happily-married wife to a haunted, desperately confused shadow of her former self. Great performances, too, and a marvellously melancholy score by Krzysztof Komeda.

(TimeOut)

PICNIC AT HANGING ROCK (Peter Weir, 1975) (Magdalen Auditorium, 9:50pm Monday 5th Feb)

Three girls and a teacher from an exclusive Australian academy unaccountably vanish while visiting a local beauty spot. Set in the Indian summer of the Victorian era, the film is dominated in turns by vague feelings of unease, barely controlled sexual hysteria, and a swooning lyricism. As for the mystery, we're left to conclude that it can only be explained in terms beyond human understanding. As such, the film is rooted in a tradition of sci-fi and horror cinema, depicting the school as a privileged elite, gradually contaminated and destroyed from within by its inability to understand the mystery which confronts it. But in the final count, nothing is satisfactorily resolved because tensions remain unexplored, while the atmospherically beautiful images merely entice and divert. The result is little more than a discreetly artistic horror film.

(TimeOut)