Possessor

Some artful notions swirling around in this one, "Possessor," but not necessarily always amounting to much. A conclusion of a loss of empathy seems especially trite to me. There's so much more potential here than some character arch. More than the satire on the real world, too.

We've got mind-body duality of implanted techno body horror (from the son of the master of the subgenre) instead of dreamscape "Inception" (2010), but nonetheless for some generic corporatist plot. There's a bit of "The Puppet Masters" or "Invasion of the Body Snatchers" to the scenario, as well. An actress (Andrea Riseborough) playing a character that also is an actress--practicing her lines, fine-tuning facial expressions until literally embodying her character. It's even in her name, Tasya Vos, meaning "resurrection" and "fox," a symbolically trickster animal. A character who wears other people's faces like a mask and whose nightmare is that one of those people wears her face literally as a mask. Body and mental dysmorphia that becomes bizarre digitally dysmorphic cinematic imagery. Seeing artifacts that aren't there. An identity crisis fully emerging from wearing virtual-reality-like goggles to spy through customers' webcams through the eyes of the body that's consciousness has been hacked via Vos hooked up to another virtual-reality set. It's the sort of film-within-a-film that's within yet another film that really makes a character question their reality.

This is what got me wondering, then, about those objects Vos looks at in her debriefing meetings with Jennifer Jason Leigh's Girder (which may mean "satirist," by the way). Interesting how Leigh has been cast in so many such detached, clinician-type parts, at least of late: "Annihilation" (2018) and "Awake" (2021) being two of the latest movies I've seen with her, in addition to "The Woman in the Window" allusion to her part in "Single White Female" (1992). This is also the actress from "eXistenZ" (1999), "The Machinist" (2004) and "Synecdoche, New York" (2008). There probably aren't many actors out there more trained in the ways of reality-bending cinematic reflexivity. More interesting methinks than her ex-husband's use of meta-narratives as realistic movie therapy sessions.

Cronenberg to Cronenberg, but for the actors, Leigh's satirist grooms another actress as her successor. She monitors her character possessing via virtual-reality headwear, illustrates her slasher exploits with bloody big-screen images, and presents her objects from her past--nominally to distinguish her own identity and reality from those she possesses--but, Girder actually advises Vos to detach herself further, from the family connections that distract her from her work. Noah Baumbach should take note.

All of which makes me wonder about those objects, a pipe and a pinned butterfly. The latter seems to fit the transformation and resurrection themes well enough, but that pipe. And, boy, is there a lot of vaping in this one. A tobacco fix that isn't tobacco. A pipe that isn't actually a pipe. People possessed who aren't actually themselves. Consumers and voyeurs, not people. Pornography instead of sex. Dead images in lieu of reality. Ceci n'est pas une pipe à la René Magritte. This is The Treachery of Images. This isn't reality; it's a representation, surreal, virtual, a movie. "Pull me out."

With its good performances, excellent visual design, and all the blood and gore you could ask for, Brandon Cronenberg's 'Possessor' is a thrilling, engaging experience that succeeds in getting under your skin.

Ok, i don't usually write reviews here, although I am an avid movie fanatic.

To be frank i wasn't familiar with Brandon Cronenberg and his work up until now, and I must say this is a treat for the fans of his Dad's work.

The beginning is kind of meh I admit and nothing special but from the mid point towards the end it keeps getting better and better and the main thing is the beautiful atmosphere and cinematography and visuals and practical effects in the style of 80s masterpieces of his famous father.

This is by far the most interesting movie in this "subgenre" of horror in years and maybe even from the 80s/90s and since David shifted more towards the "mainstream" if that is something you can ever say about David Cronenberg.

Also the acting is great as is the casting. The colors and the mood of the film are really on point. Shot out to Director of photography.

To top it all of the "ending theme" or "possessor" as it is credited in the soundtrack by Jim Williams is nothing short of a masterpiece.

If you loved David Cronenberg's "Videodrome" or "The Scanners" or even "Dead Ringers" you will surely appreciate this one..

Do not be thrown away by the bad reviews and take a look for yourself!

Tasya Vos (Andrea Riseborough) is the Possessor. She's a corporate assassin who uses a brain implant to take over other people to do the killing. Her boss is Girder (Jennifer Jason Leigh). Her next take-over target is Colin Tate (Christopher Abbott) who is dating Ava Parse (Tuppence Middleton), the daughter of tech tycoon John Parse (Sean Bean).

This is a Brandon Cronenberg film. It has his father penchant for blood. It's a fine sci-fi flick with a dash of style. The filming does need something more. I can't quite put my finger on it. It has style but it needs more. It has moments of intensity but it needs more. It has ideas about control and self-identity. I'm not completely bought into the character Tasya. I don't know who she is and quite frankly, she may not know herself. That would have been an interesting idea if it's clearer about being murky. All in all, this is more interesting than not. There are enough in here worthy of the Cronenberg name.

In this film, set in the near future, brain implant technology allows one person to inhabit the mind, body, and spirit of another. A clandestine corporation uses this technology to assassinate wealthy and powerful people for profit. The film explores what happens when the host starts to fight to regain control from a guest who is not entirely mentally stable, to begin with.

Interesting enough premise. The film is set in a very bleak version of the future where cities appear to be sparsely populated (perhaps from some event that greatly reduced the population such as plague or war; a motif borrowed from Argento's Tenebre). The film relies heavily on psychotropic imagery, and this adds to the overall frightening and confusing atmosphere since most of this imagery is nightmarish (distorted faces reminiscent of David Cronenberg's The Brood, warped colors, bursts of sound and images, blurs, rapid-fire images and strobing flashes of light). The film further relies on ultra-violence as a motif that rivals even the Italian slasher films of the late 1970s and early 80s (such as Susperia, Tenembre, Opera, etc.). Possessor contains explicit sexual motifs including full male nudity and erect penises, which reminds me very much of Antichrist (2009) or The Man Who Fell to Earth (1976). These are juxtaposed with explicit imagery of knives penetrating flesh. All of this results in a nightmare landscape. The ending is purposely left confusing so that that the viewer can arrive at their own conclusions. For some viewers, this will be frustrating.

All of this wraps up into a very worthwhile enough film, but for viewers with a more sophisticated palate (if you are looking for a Blumhouse type film Possessor is not what you are looking for). It is disturbing to be sure. However, it is very well made and anchored by two very outstanding performances from Andrea Riseborough and Christopher Abbott. It also features Jennifer Jason Leigh and Sean Bean in very laudable supporting roles (whether or not Sean Bean dies I will not spoil). Possessor is a "Criterion Collection" caliber film that will give the viewer some satisfaction analyzing and will with you long after you see it.