Possessor is a good film. I just can’t think of a single good word to describe it. The strongest word that comes to mind is “violation” because this narrative is built on them. It’s a Black Mirror episode gone horribly wrong–if there could be such a thing. Let that sink in. Possessor is labeled as a sci-fi, horror, psychological thriller. It ticks all of these boxes while remaining thought provoking (hopefully the philosophical or existential kind of thoughts); though, it seems to care more about depicting an act in brutal, excruciating detail than exploring why the act occurred in the first place.
In a near future where the level of technology is just right enough to enable all the wrong things, Andrea Riseborough is cast as Tasya Vos. She’s an assassin who uses the minds and, by extension, bodies of others to perform her work. The method can be taken as a microcosm of the film itself: relatively low-tech and high-concept. The efficiency of such a clandestine operation is really not the point. I believe writer/director Brandon Cronenberg is driving home the concept of violation and boundaries they cross….over and over and over again. It’s not enough to secretly poison a target or simply shoot them. Victims are bludgeoned and maimed and butchered. Here, in Cronenberg’s future, professional assassinations look more like rage or crimes of passion. Close up shots of needle injections and knife wounds are paid as much care as close ups of the actors themselves. One could argue that Vos’ body snatching is no different than a sharp object entering a victim’s body. All are violations. The collateral damage caused by Vos’ various masquerades are emotional violations. All do irreparable damage, but which of these instances is the most morally bankrupt way to do it? Is the Possessor or the host to blame for the savagery of these acts?
Cronenberg’s themes are apparent. Technology has pervaded every nook and cranny of our lives. Our privacy is gone. Secrets are easily laid bare. Social interaction isn’t the same as it was for the previous generation. All of it can be weaponized–is weaponized. This would have been a very different film in different hands. When I say “different” I mean just that. Not “better.” The visual aesthetic is right on the money and some creative visual choices are on display. They lend themselves well to the psychological aspect of the film, because the technology is the means and not the end. The flip side of that coin is the Cronenberg family penchant for body horror. I accept its symbolism only so far because there comes a point where it’s not about “the point” anymore. It becomes about shock and violence and perhaps appeasing the conventions of genre.
Though Possessor will hopefully elicit some existential questions, I don’t know if a deep analysis is required. That’s not slight to Cronenberg, but more a comment on how committed he is to his message. Peel back the layers and you’re left with a bloody, nihilistic dissection of human nature. I don’t think it has more to say than that. Anyone familiar with sci-fi knows the hidden dystopia that’s configured underneath the surface of society. It often operates parallel to everyday life, giving you the good things while hoping you forget the toll it can exact upon you. Possessor will be a challenging watch because I see it as the opposite. There’s great art and an interesting premise, but you will feel every bit of the transaction. Some of you will find this film right down your alley. Some of you will find it difficult. I say err on the side of the challenge.
Recommendation: STREAM IT