Possessor

Possessor ★★★★

Possessor is an instant classic sci-fi/horror hybrid. I didn’t know what to expect going into this but I came away in awe of how strong of a grip Brandon Cronenberg has on his craft. After an 8 year hiatus, he returns with this radical, ambitious, grotesque, and visceral filmmaking that should make his father proud and genre fans delirious with glee.

Andrea Riseborough continues to make fascinating career choices. She’s brilliantly detached here as her character struggles to straddle the line between humanism and a clinical cold-blooded life. Her arc is absolutely brilliant and left me in silence as the credits rolled as I tried to comprehend the madness I just saw ensue and it’s devastating consequences. She’s well-matched by Christopher Abbott, who is also somebody who makes bold choices with his roles. Without going into spoilers, his role is extraordinarily challenging and he’s more than up to the challenge. In lesser hands, this movie could have collapsed without his vital performance. They photograph well, especially Riseborough, and despite the intentional chilly characterizations they’re saddled with, they’re both undeniably magnetic when they’re on the screen.

Brandon Cronenberg’s Possessor is a challenging work of art. It’s full of heady ideas about human relationships to other humans. It’s wrapped up in a grotesquely mounted production full of radical visuals and bloody violence. The chilliness and slow-burn might not be for everybody but you’ll be hard-pressed to find a comparable film. This stands on its own as a brilliant sci-fi horror parable about corporate rot and personal identity that deserves to be watched and dissected over and over again.

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