Possessor (2020) Film Review: Chilling high concept sci-fi/horror is one of the best films of the decade (so far!)

---

Set in an alternate futuristic reality, a secretive organisation uses brain-implant technology to inhabit other people's bodies and perform assassinations for high-paying clients.

One highly regarded agent, Tasya Vos (Andrea Riseborough), is tasked with occupying the body of Colin Tate (Christopher Tabbot), the fiancé of the daughter of a wealthy CEO. However, things take a terrifying turn when Vos finds herself fighting to control the resistant host...

Possessor (2020) is the second feature-length film for Brandon Cronenberg, the son of legendary horror director David Cronenberg.

Brandon has already established a unique, provocative style of filmmaking and a distinct preference for the horror genre, like his father, with Infinity Pool (2023) following a similar psychological/body horror angle, which is very much present in today's feature of discussion.

The film strikes a pitch-perfect balance between substantial intellectual, high-brow science fiction/horror storytelling with a bold, electrifying style oozing with creativity and flair. Timely topics such as grappling with personal identity, the ethical implications of utilising modern technology, data mining, and surveillance culture are all examined to great effect over the course of the film.

Andrea Riseborough stars as a well-respected agent who inhabits other people's bodies to assassinate targets for a high salary - but it comes at a dangerous cost, as her grip on her own identity and humanity fades with each assignment

Cronenberg self-assuredly directs with clear confidence and technical skill, unflinching in his depictions of brutal, gory violence, as well as graphic, full nudity. The kills are particularly nasty here, showing everything in all its bloody glory, creating one of the most visceral, extreme cinematic horror experiences ever seen before.

The movie is quick to establish its heavy, disturbing atmosphere with an ominous, eerie score composed by Jim Williams, which incorporates a low drone-like, distorted sound design, effectively complementing the trance-like, delusional state the protagonist later finds herself in. The shocking nature of the film's nauseating violence is introduced barely five minutes into the screenplay, as Vos performs a gruesome assassination like it were an ordinary, everyday occurrence.

However, the choice to focus on the gnarly details of this particular line of work is very deliberate and goes beyond simply intending to shock the audience. It symbolically reflects the negative, spiralling mental state of Tasya as she further dissociates from her empathy and compassion, gradually losing her humanity to the job.

Regarding the technical aspects of the film, cinematographer Karim Hussain does a stellar job here, exhibiting an intense, powerful visual style which greatly emphasises the movie's complex themes. The stylistic ventures of Cronenberg and Hussain immediately stand out from the get-go. Bold colours like red and orange are a significant component of the film's colour palette, evoking striking moments of visual symbolism, which is contrasted heavily with clinical whites and blues.

Director and writer Brandon Cronenberg and cinematographer Karim Hussain take full advantage of the medium to include plenty of trippy, surreal sequences, which thrive on nightmarish imagery and stunning visual symbolism

A hypnotic, mesmerizing quality is achieved through hazy presentation with coloured lens flares and in-camera trickery, juxtaposing the ethereal nature of being inside a human mind with a raw intensity of emotional distress, conveyed through glitchy, distorted edits. The technical standards of the film are truly outstanding, presenting a pristine, clean-cut picture quality with an incredibly immersive sound design.

Cronenberg's dedicated perseverance in trying to use practical effects wherever possible certainly pays off and lends itself to some of the most inventive, striking sequences of the film. The impressive worldbuilding is equally as ambitious and innovative as the screenplay, orchestrating a fascinating combination of futuristic design regarding scientific and medical instruments, as well as maintaining a classic vintage style with certain architecture and old cars used. The astonishing attention to detail displayed is truly fantastic, further drawing viewers in.

Along with its harrowing portrayal of torture and murder, the film genuinely works as an unsettling horror that really gets underneath your skin due to its clever premise and breathtaking execution. The mere thought of another person being able to control your body against your will is a terrifying idea in itself, and Cronenberg takes full advantage of this by capitalising on this inherent existential fear to present a riveting battle of minds between two individuals fighting for control over the same body.

The pure horror factor is generated from the character of Colin Tate being violated on such a deep, intimate level, as his mind is literally blended with Tasya's, resulting in both parties losing their grip on reality. Also, the fact that this process has become a standard routine of this business is deeply disturbing, as one considers all of the lives this technology has infiltrated and destroyed. It is pretty scary stuff, and Riseborough and Tabbot both excel in their respective roles.

Christopher Tabbot thoroughly impresses with his admirable commitment to this uniquely challenging role of effectively portraying two different people and opposing personalities

The idea of a woman inhabiting a man's body is an inspired choice on the writer's part and gives way for much experimentation and range for the stars to play with. Tabbot in particular demonstrates truly exemplary work here, believably convincing audiences that he is really a middle-aged woman with a bizarre fixation on violence, so much so that it is often unclear who we are currently watching.

Sometimes the switch between their personalities is seamless, whereas there is often a grey line where it is difficult to see where one starts and the other ends. There is always a lingering sense of dread and palpable tension as Vos struggles to remain in character consistently and convince Tate's fiancé and peers.

Possessor is an extraordinary piece of filmmaking from one of the most exciting up-and-coming movie writers and directors working today.

Brandon Cronenberg has proved that he is much more than a nepo baby, presenting a strong, captivating, creative vision with intelligent, thought-provoking screenplays and a definite knack for visceral body horror. The technical prowess on display here is extraordinary, the performances outstanding, and the original concept offers up much to interpret and engage with deep, mature thematic messages.

If you have a strong stomach and appreciate the cinematic art form, definitely check this underrated gem out this Halloween!

Check out the trailer for Possessor (2020) below, and please let me know your thoughts in the comments!