I didn’tloveBrandon Cronenberg’s 2012 debutAntiviral, but it was a promising enough sign of things to come from the son of horror maestroDavid Cronenberg. I imagine it’s hard following in the footsteps of a famous filmmaker father, especially when you work within the same genre as dear old dad. After all,Jason Reitmandoesn’t make the kinds of movies thatIvan Reitmanmade, nor doesSofia Coppolaseem interested in followingFrancis Ford Coppola’s playbook. But like his father before him, Brandon Cronenberg is clearly interested in body horror, and with his new filmPossessor, he finally lives up to the burden of expectations that his last name unfairly demands.
The chameleonicAndrea Riseboroughstars as Tasya Vos, a corporate assassin who takes out her high-profile targets by taking over other peoples' bodies – “possessing” them, if you will. Using some groundbreaking scientific method under the guidance of her boss (Jennifer Jason Leigh), Vos is able to inject herself into another human’s consciousness, ensuring that she leaves no trace behind by forcing her hosts to kill themselves after completing their murderous missions.
But somewhere along the way, Vos starts to enjoy her work a little too much, having developed a thirst for ultraviolence. She doesn’t just eliminate targets, but seems to take glee in violating them. She’s in too deep, see, and she’s begun having difficulty distinguishing her real life from the lives she inhabits as part of her job.
It’s at this point in her lethal career that she’s assigned to “bind” with Colin Tate (Christopher Abbott), who has unique access to his rich and powerful boss (Sean Bean) because he’s dating the man’s daughter (Tuppence Middleton). But before Colin can do the deed, Vos must learn how to become him – the way he speaks and moves and reacts, so as not to arouse suspicion. She can’t hide her own unique habits, as we see Colin cut an apple the exact same way that she does, but she eventually becomes more comfortable wearing his skin, while a semi-cognizant Colin does his best to revolt. When it’s finally time to get down to business, Vos doesn’t have Colin use a gun or a knife, but rather, a fire poker, as she proceeds to get disturbingly creative.
That brings me to the graphic violence, which is certainly shocking.Possessoris not for those with weak stomachs, and I recall hearing after Sundance that Cronenberg would have to make significant cuts or else the film would have to go out unrated, lest it be tagged with a surefire NC-17 rating that would make it all but impossible to distribute in theaters. Well, fortunately for gorehounds such as myself, the pandemic has rendered that a moot point, and as a result, thoughPossessoris receiving a release in select theaters and drive-ins, the film will be consumed by most in the comfort of their own homes.
Given the extreme nature of this movie, it’s likely the right play by indie distributors Neon and Well Go USA, which deserve credit for releasing this film uncut, just as it screened on the festival circuit. Those who caught it with an audience warned me it was the real deal, and watching it alone via screening link, I was quickly hooked, as there’s something almost hypnotic about the movie and its particular brand of derangement – though there’s no question thatPossessorwould benefit from the kind of amped-up midnight movie crowd that drove the buzz on Riseborough’sMandy.
Speaking of the English actress, Riseborough’s icy demeanor and uniquely haunted look help make her well-suited for the role, and there may be nothing scarier than watching her essentially play-act being a loving, caring mother, reminding herself to smile before she walks in the front door to greet her husband (Rossif Sutherland) and young son, and never showing any trace of the stone-cold killer she has to be at work – a job she loves a little too much, mind you. Instead, she pretends to live the boring life of a dutiful wife, which is, perhaps, the perfect cover for a mind as warped as hers.
Meanwhile, Abbott is his typical sturdy self – and yet he’s not, as he’s supposed to be acting a bit “off,” since Vos is the one pulling the levers in Colin’s head. It’s a tricky role and Abbott rises to the challenge, making us care about his character and root for him to get his life back. I can’t imagine being one of Vos' doomed hosts and knowing that it was your hands that killed someone, even if you weren’t in charge of the brain controlling those arms.
To be sure, Cronenberg is exploring some heady concepts here, including ideas of identity and self will. Are we in control of our own bodies, or are they following a script someone else is writing? Are we in our own driver’s seats, or is the passenger the one in control? Cronenberg dramatizes this melding of the minds by melting a plastic mannequin, or so it appears, almost as if this hybrid person of Tasya Colin Tate Vos was forged in the fires of hell itself. Is Vos' company the antagonist inPossessor, or is it her? Or is it Colin, who comes to realize something is amiss, and takes drastic steps to reclaim his life back.
The film’s tagline of “lose control” is more than apt, asPossessorplays likeInceptionifLeonardo DiCaprio’s character had been a psychopath. Cronenberg is still finding his own voice as a filmmaker but he presents a clear vision for this world and there’s a certain confidence in its imagery, from Vos' office chairs to the more abstract “binding” process. Praise is also due to cinematographerKarim Hussainand composerJim Williamsfor their solid contributions.
Possessoris a wonderfully depraved sci-fi thriller that represents a major leap forward for Cronenberg, who backs up his latest hair-raising premise with actual substance this time around followingAntiviral, which fumbled its celebrity-obsessed message. He finally seems ready to carry the body horror mantle bestowed upon him by the elder Cronenberg, and yet I hope he doesn’t measure himself against his father or feel pressure to continue the family legacy. The apple may not fall far from the tree, butPossessorfinds Brandon Cronenberg fully in control and building his own independent legacy. I can’t wait to see what he does next.
Possessoris now showing in select theaters and drive-ins.
