Possessor Second Sight Films

Admittedly, I was apprehensive about approaching Brandon Cronenberg‘s Possessor after his feature-length debut with Antiviral.

Though it had an interesting dystopian concept, lavish and bright cinematography, an eerie soundtrack and terrific performances across the board, Antiviral just didn’t resonate with me. Honestly, I found it extremely dull. It lacked any punch; the visceral experience you would get from a trademark [David] Cronenberg picture.

But for better or worse, it’s impossible to deny that Brandon‘s next venture as a filmmaker was one of 2020’s most talked about films. The huge amount of buzz first generated around the films world premiere at Sundance Film Festival in early 2020.

Starring beloved British national treasure Andrea Riseborough and Christopher Abbott set in an alternative 2008 where flip phones have yet to be overtaken by iPhones and everybody seems to tonk a fat vape, Possessor follows agent Tasya Vos (Riseborough) who works for a secretive organisation that uses brain-implant technology to inhabit other people’s bodies – ultimately driving them to commit assassinations for high-paying clients.

Straight off the bat, I enjoyed this film! I thought it’s an improvement for Brandon as a filmmaker in every aspect. The writing in this recent body of work is much more concise, making it a lot easier to follow and understand than his at-times-confusing last effort. And like his father’s work before his own, Possessor goes fully body horror!

Without giving away any major spoilers, the opening five minutes of Cronenberg‘s film is an absolute bloodbath! Quite possibly one of the most memorable opening scenes from any film I’ve watched in the past decade. And that’s because one of Possessor‘s strongest attributes is its shock factor. When I tell you this film is bloody gory, I mean it is BLOODY GORY! And when you put it into context that there’s less than a handful of scenes that actually involve any bloodshed on-screen, that says a lot about its quality. Quality over quantity.

Another example of Brandon stepping into the “body horror” realm his father helped created are the “jump” scenes. And I don’t mean “jump scenes” in the sense that there is going to be some unnecessary nothingness for a few seconds and then something pops out on-screen with a thunderous bang to attempt to send you to A&E in cardiac arrest. No, the jump scenes in Possessor are simply the transition of Riseborough’s character from her body to whomever she is…possessing. Ba dum tss. These “jumps” bestow as the films most psychedelic and whacked-out moments. There’s super speedy and jittery cuts, violent flashes of colour and bodies and faces contort, merging into one. The hypnotic, nightmarish imagery play out from the the Cronenberg wheelhouse and are not friendly to those suffer from epilepsy. Brandon’s vision coupled with the elegant, dreamlike cinematography has rigorous attention to detail.

Speaking specifically on the cinematography, Karim Hussian does an impeccable job in Possessor. During the opening scenes of the film, they’re soaked with vibrancy. There’s lighting effects and colour palettes that could rival visual epic, Blade Runner 2049. Yes, seriously! Hussian‘s use of a plethora of colours seamlessly intertwine with one another. In one moment you can be bathed in piercing reddish tones and the next, icy cold shades of blue. One colour gradient that’s an almost constant in Cronenberg‘s film – that I picked up on anyway, are shades of yellows and golds. It gives Possessor a bile-like aesthetic. A urine-stained filter on the camera lens.

The films score/soundtrack, it too is impeccable. Composed by long-time collaborator of Ben Wheatley and more recently composer of Julia Ducournau‘s Raw, Jim Williams hosts a true-to-style masterclass in creating splices of eerie soundscapes that eventually lead to pandemonium.

As for the performances, that’s where Possessor really shines. Both Andrea Riseborough and Christopher Abbott are spectacular! A career-best from both. Tasya Vos (Riseborough) is an assassin who struggles from increasing detachment from her own identity with each contract she’s required to complete. Imposter syndrome. But in my eyes, the real star of the show is Abbott. With Vos infiltrating his body with her consciousness, for the majority of the runtime focuses on Colin Tate, a cocaine abuser who’s mission it will be to be the vessel of Vos’ next hit. Abbott chews up the scenery every moment he’s on-screen in this film! His performance as somebody who’s mind, body and spirit has been taken control of by an outsider is 100% believable. You know that Vos is trying to emulate Colin’s usual erratic behaviour and it reflects on-screen when his partner, friends and co-workers are calling him out for not being his usual-self. It’s an exponentially multi-layered performance from Abbott. Worthy of a nod or two during film awards season this year, for sure!

As for supporting cast, Vos’ next major hit is wealthy CEO, John Parse played by one of Yorkshire’s finest imports alongside its tea, Sean Bean. So who is pulling all the strings behind all this subterranean science fiction madness you might ask? Retired assassin Girder, played by Jennifer Jason Leigh, who I might add has been having an absolute blinder since appearing in Tarantino’s Hateful Eight. I am absolutely living for the Jennifer Jason Leigh renaissance!

Sadly however, I do believe the superb performances throughout Possessor are what keep everything bonded together when the script lacks for genuinely compelling storytelling.

Similarly to Antiviral, Cronenberg doesn’t seem to have realised the full potential of his own concept. Possessor has provocative, cyberpunk themes that aren’t fully explored on by the time the end credits begin to roll. A lot is left to be desired. And it’s just really frustrating to see a film and its maker with this much potential, flounder. Possessor has all the right ingredients. It has been properly prepped. It just hasn’t been left in the oven long enough. It’s half-baked.

Still, this is only Cronenberg‘s second feature-length film. He’s definitely on the cusp of creating his own Rabid, his own Scanners, or even his own Eastern Promises. With a bit more time and effort, Brandon has all the capability of stepping outside of his father’s shadow and becoming his own auteur. Comparing his work to the legend of his father’s work is like comparing butter to margarine. They both look similar. They both taste similar too. They’re both spreadable. But in the end, they are two entirely different things and one is more healthy for you than the other.

Over the next decade, I believe we’ll see Brandon Cronenberg‘s magnum opus; something truly groundbreaking and innovative.

Horror, Sci-Fi | Canada, 2020 | 18 | Digital HD, Blu-Ray, DVD |  8th February 2021 | Signature Entertainment | Dir.Brandon Cronenberg | Andrea Riseborough, Christopher Abbott, Jennifer Jason Leigh, Sean Bean,Tuppence Middleton


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