object rather than subject. The wages of
mental and sexualdeviation from societal norms are revealed to be heavy in
the logic of the film’s denouement.
Deneuve in Repulsion is thus a locus of ambiguities.
The resistance offered by her Polanski-created persona to dominant
ideological norms is elliptical and partial, rather than straightforwardly
readable. If the partial pathologisation of Deneuve in Repulsion led