Possessor (2020)

In the near future, a private organization that specializes in body takeover assimilate assassinations, runs into a major problem when their top assassin (played by Andrea Riseborough), is trapped in the body of a host who’s conscious.

Possessor is the sophomore effort by Brandon Cronenberg; son of David Cronenberg. And the similarities definitely do not stop at last names. Possessor is a moody and dark visionary metaphor of the world we live in today with our relationship to technology and what it really means to us. Wrapped in violent brutal assassinations and cringe worthy skin to technology penetration in a downtown Toronto landscape; Possessor is practically a ‘brand new’ David Cronenberg film. However, one important difference between David and Brandon is how they see their characters. David Cronenberg sees his protagonists going towards something they don’t understand without hesitation or carefulness, and they ultimately end up in fatal trouble when they’ve gone too far. Brandon Cronenberg’s Possessor treats its protagonist as more aware and concerned with the mission at task and what it requires. The tension of the film comes from the idea that Tasya (played by Andrea Riseborough) is worried that her job will soon betray her, and that she might not be able to cross an important obstacle with taking over one’s mind and body to commit an assassination. Oppose his dad, Brandon Cronenberg seems to want his protagonist to succeed but learn something from an intense tragedy or mishap. This somehow makes a more relatable leap between the idea of the world we live in and technology, more so than David Cronenberg intends to do with his films; as the bleakness is lessened with vague optimism.

Possessor is quite the allegory to fear of job loss, job status and economic status while making a clever commentary on the fact that as citizens we trade our privacy for products to major companies like it’s nothing. The body takeover is definitely a clear metaphor of privacy takeover and controlled advertised decision making; ie - Facebook. Tasya in Possessor is self conscious and unsure, leading to mistake after mistake, but also leading her to use the host she’s occupied, to lash out for the host in their perspective; but as a therapy for herself. This metaphor lends to the transgender experience of being in a body not related to who you are on the inside, and the catfish phenomenon of pretending to be someone else online with a fake photo and profile, to experience oneself in a way without rejection; or to lure someone into a relationship under false pretenses.

Brandon Cronenberg paints a world where we learn what it is to be in someone’s shoes, literally. It serves as a reminder that the individual is the most important part to humanities survival. Not a corporation or empire, no matter how much they may convince you otherwise.

Possessor is a much-needed recent entry in the Cronenberg family of technological horror. One that hits home now, more than ever. 9/10.

• Maurice Jones