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The Asphyx

The Asphyx

Fantasy · Horror · Science Fiction · 1972

Hugo is a brilliant turn-of-the-century scientist, loved and respected by his family and friends, admired by his colleagues. But he is a man quickly becoming obsessed with a curious and frightening question...What is the mysterious apparition found in the photographs of his dying subjects?

Movie details

The Asphyx

“If It Were In Your Power…Would You Sacrifice Your Wife…Your Children For Immortality? This Is The Story Of A Man Who Did!”

1972 Fantasy · Horror · Science Fiction 1h 39m

Critical arithmetic

One number, for now.

TMDB

6.0 / 10

Community rating

Hugo is a brilliant turn-of-the-century scientist, loved and respected by his family and friends, admired by his colleagues. But he is a man quickly becoming obsessed with a curious and frightening question...What is the mysterious apparition found in the photographs of his dying subjects?

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Asphyx?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Peter Newbrook

Written by

Brian Comport

Robert Powell

Robert Powell

Giles Cunningham

Robert Stephens

Robert Stephens

Sir Hugo Cunningham

Jane Lapotaire

Jane Lapotaire

Christina Cunningham

Alex Scott

Alex Scott

Sir Edward Barett

R

Ralph Arliss

Clive Cunningham

F

Fiona Walker

Anna Wheatley

Terry Scully

Terry Scully

Pauper

Court is in session

Put The Asphyx on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Prestige Tourist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.