“It’s just torture and murder. No plot, no characters. Very, very realistic. I think it’s what’s next.”
Max Renn-Videodrome
The term “chip off the ole block” couldn’t be more true regarding Brandon Cronenberg. Maybe he’s been influenced by his father, or perhaps it’s in his blood, but he, too, seems obsessed with pushing the limits of mind, body, and technology. Special shout out to my former podcast cohost Colin for forcing me to add this film to my Halloweenfest list.
Let’s start with Brandon Croneberg first. Unlike his father, Brandon prefers a cleaner, more modern aesthetic. David’s films have always skewed gritty and biological. Oftentimes, in David’s film, the tech is designed with flesh or plant-like qualities. Brandon’s tech seems to fit more into traditional futurism. Clean white machines and simple sleak designs permeate his vision.
Aesthetics aside, Brandon has the same keen eye for what’s horrific and sensual. He uses sexuality and violence as interchangeable parts. The violence in Possessor doesn’t happen often, but when it does, it’s horrific and gut-wrenching. What’s less clear with Brandon’s work is the message. His father always seems to have something specific to say about culture or society. Brandon’s films seem more focused on broader critiques of masculinity, self-identity, and power.
The performances in Possessor are off-the-charts excellent. Andrea Riseborough and Christopher Abbott are both perfectly cast. Abbott is particularly significant because his role requires a wide range of emotions and pain. A surprise performance by the always-dying Sean Bean was a welcome addition, too.
It’s hard to find any real faults with Possessor. Brandon Cronenberg is supremely talented and has a handle on his storytelling. The cinematography and score are stellar additions as well. Andrea Riseborough and Christopher Abbott give two terrific performances. After an extremely brutal ending, I was left feeling shocked, hurt, and confused. It’s evident that Crondenberg’s films are personal. He struggles to find his identity outside of his family name, and the themes of his films reflect that. Possessor is visually stunning and horrifying, but it is ultimately empty, like its lead character.
Rating: 8.5/10
