{"id":169886,"date":"2021-01-17T14:30:13","date_gmt":"2021-01-17T14:30:13","guid":{"rendered":"https:\/\/gamerant.com\/brandon-cronenbergs-possessor-expands-upon-fathers-sci-fi-legacy\/"},"modified":"2021-01-17T14:30:13","modified_gmt":"2021-01-17T14:30:13","slug":"brandon-cronenbergs-possessor-expands-upon-his-fathers-sci-fi-legacy","status":"publish","type":"post","link":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/2021\/01\/17\/brandon-cronenbergs-possessor-expands-upon-his-fathers-sci-fi-legacy\/","title":{"rendered":"Brandon Cronenberg’s Possessor Expands Upon His Father’s Sci-Fi Legacy"},"content":{"rendered":"

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Brandon Cronenberg offers up a refreshingly provocative sci-fi\u00a0vision in his 2020 film\u00a0Possessor<\/em><\/strong>. As director and scriptwriter, Cronenberg\u00a0weaves together a singular tale about an assassin-for-hire who\u00a0doesn’t go about her job in\u00a0the\u00a0traditional way. Instead, she transmits her consciousness into the minds of her victims by surreptitiously implanting chips in their brains and then using a special machine to assume control.<\/p>\n

With this plot, Cronenberg maintains a tense relationship between\u00a0ethereal technologies\u00a0and the very\u00a0corporeal consequences of invading\u00a0another person’s body. Cronenberg’s fixation on embodiment is very reminiscent of his father David’s works. The elder Cronenberg’s films explore\u00a0taboos\u00a0through body horror – an approach to\u00a0narrative storytelling<\/a> that graphically depicts\u00a0transformations\u00a0and mutations of\u00a0the human form. While the younger Cronenberg carries his father’s thematic torch, he uses it to shine a radical light on\u00a0new ideas with\u00a0Possessor<\/em>.<\/p>\n

RELATED:\u00a0Alex Garland’s ‘Annihilation’ Follow-Up Is A Horror Movie Called ‘Men’<\/a><\/strong><\/span><\/p>\n

Set in an alternate 2008, Possessor<\/em> stars Andrea Riseborough as Vos, the\u00a0professional hitman whose work takes a severe toll on her relationship with her husband and son.\u00a0The film’s unrelenting tone is established from its first scene, where a young black woman named Holly, portrayed by Gabrielle Graham, brutally stabs a man in a\u00a0packed restaurant before she is killed by police. It soon becomes obvious Holly was inhabited by Vos as part of an assassination plot<\/a>.<\/p>\n

The implications of this intense\u00a0sequence frame the depraved power struggles that consume the rest of the movie. With each job, Vos becomes more and more separated from her own body and\u00a0personal emotional tethers. Egged on by her boss, Jennifer Jason Leigh’s character Girder, Vos accepts another assignment: killing CEO John Parse and his daughter Ava, played by Sean Bean and\u00a0Tuppence Middleton. In order to complete the task, Vos possesses the body of Ava’s fiance Colin. Christopher Abbott matches Riseborough’s\u00a0tenacity and devotion to her role as Colin, who goes into self-preservation mode when he realizes his consciousness has been overrun by an outside force. Vos’s plan to dispatch Parse and Ava through Colin backfires, as does her plan to force Colin to end his own life afterward.<\/p>\n

What transpires from there is a cerebral, messy battle between Colin and Vos that frequently erupts into pure barbarousness. Blood\u00a0pours, faces melt,\u00a0abstract imagery abounds, and the distinction between Colin and Vos disintegrates along\u00a0with whatever humanity remains\u00a0inside them.\u00a0Riseborough and Abbott give performances of a lifetime as the movie’s\u00a0action bubbles\u00a0over into\u00a0a startling, anxiety-inducing climax.<\/p>\n

Like his father,\u00a0Brandon utilizes practical effects and prosthetics in lieu of CGI<\/a> in\u00a0Possessor<\/em>.\u00a0He hired makeup artist Dan Martin, who worked on Richard Stanley’s 2019 film\u00a0Color Out of<\/em> Space, to bring his perverse\u00a0concept for the film to life.\u00a0<\/em>This makes the\u00a0underlying terror in\u00a0Possessor<\/em> all the more tangible as viewers embark upon an emotional, impressionistic journey. Instead of completely departing from the physical plane,\u00a0Possessor\u00a0<\/em>grounds its fantastical elements in the very real violence people inflict upon each other.<\/p>\n

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There’s no denying\u00a0the older Cronenberg laid much of the foundation\u00a0for films like\u00a0Possessor<\/em>. David’s penchant for visualizing\u00a0traumas, fears, and psychological upheavals through bodily\u00a0distortions\u00a0eliminates the distinction\u00a0between the physical and the psychological. This obsession is evident from the start of Cronenberg’s filmmaking career, showcased by earlier releases such as\u00a0Shivers<\/em> and\u00a0The Brood<\/em>.<\/p>\n

Subsequent features like\u00a0Scanners<\/em>\u00a0<\/em>and\u00a0Videodrome <\/em>apply these concepts to the corporate\u00a0sector, drawing paranoid conclusions\u00a0about\u00a0military contractors and media conglomerates.\u00a0David’s transgressive themes finally caught the attention of mainstream audiences\u00a0in 1986 with\u00a0The Fly<\/em>. Scientist Seth Brundle’s disturbing\u00a0metamorphosis into a humanoid housefly\u00a0solidified\u00a0David’s\u00a0legacy as a purveyor of experimental body horror features<\/a>.<\/p>\n

Brandon Cronenberg may be his father’s son, but he’s forged a unique path for himself in horror and sci-fi.\u00a0Possessor<\/em> is Brandon’s second feature-length film, preceded by 2012’s\u00a0Antiviral<\/em>. His debut centers around a facility that acquires various viruses and diseases<\/a> from celebrities that can be injected into fans at a cost.\u00a0Antiviral<\/em>, which stars Caleb Landry Jones, makes some profound statements about celebrity culture while giving Brandon the opportunity to\u00a0harness a unique visual style replete with vivid colorizations, gruesome aesthetics, and technical ingenuity. He manages to\u00a0build upon and improve his ideas in\u00a0Possessor\u00a0<\/em>by investing in richer character development and\u00a0more effective pacing.<\/p>\n

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Even with\u00a0its transgressive themes, Possessor<\/em>\u00a0achieved massive\u00a0critical success.\u00a0Considered\u00a0one of the top\u00a0films\u00a0of 2020<\/a>, it\u00a0has\u00a0received praise for its special effects, acting, and unique premise. The film\u00a0does away with genre tropes as\u00a0it builds a truly volatile\u00a0world where no one is who they seem to be, where attempts to retain any\u00a0semblance of personhood\u00a0are met with hostility and conflict, and where the surveillance state reigns supreme.<\/p>\n

At 41, Brandon Cronenberg has produced a film unlike any other, one that pays homage to what came before it\u00a0while setting a new precedent for\u00a0cross-genre filmmaking. Possessor<\/strong>\u00a0<\/em>proves sci-fi and horror\u00a0are far from dead.\u00a0Reactions to the film’s nightmarish themes also prove the time is ripe for cinematic experiences that push boundaries and leave\u00a0moviegoers with lingering philosophical questions about the nature of existence.<\/p>\n

MORE:\u00a0The 10 Best Horror Movies Of The 21st Century (So Far), Ranked<\/a><\/strong><\/span><\/p>\n\n

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While the younger Cronenberg carries his father’s thematic torch, he uses it to shine a radical light on new ideas with Possessor.<\/p>\n<\/div>","protected":false},"author":1213,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"slim_seo":{"title":"Brandon Cronenberg's Possessor Expands Upon His Father's Sci-Fi Legacy - ITTeacherITFreelance.hk","description":"While the younger Cronenberg carries his father's thematic torch, he uses it to shine a radical light on new ideas with Possessor."},"footnotes":""},"categories":[607],"tags":[],"_links":{"self":[{"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/posts\/169886"}],"collection":[{"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/users\/1213"}],"replies":[{"embeddable":true,"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/comments?post=169886"}],"version-history":[{"count":1,"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/posts\/169886\/revisions"}],"predecessor-version":[{"id":169887,"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/posts\/169886\/revisions\/169887"}],"wp:attachment":[{"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/media?parent=169886"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/categories?post=169886"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/tags?post=169886"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}