Her next assignment is to "possess" Colin (Abbott), a nobody of no importance who happens to be dating the daughter of the CEO of a Kafka-esque multi-national corporation, intent on gathering as much information as possible about every citizen on the planet. She's lost the track of her own identity. She forgot that she's separated from her husband.
She has to be reminded of the reality of her own world. Tasya is good at what she does, but being the "possessor" of other human beings comes at a huge cost.
The company is a mysterious entity, lurking in the shadows, probably with a legitimate "front" so as to hide their real activities. Tasya has been hired by this company to "enter into" other people who then carry out important assassinations. Through this scene, shot in a striking space where darkness surrounds the two women, who sit on white chairs at a white table, we get the kind-of sort-of picture of what we just witnessed. Pale and shaken, she then submits to a decompression exit interview with her boss, a deadpan Jennifer Jason Leigh. The cops arrive and mow her down.Īt that same moment, in another location, Tasya Vos (Riseborough), lying on a table in a pitch-black room, hooked up to some machine, hauls herself up out of whatever induced-sleep she was in. They enter a private lounge, an eerie place pulsing with sinister energy, reminiscent of something out of " A Clockwork Orange." (Production designer Rupert Lazarus deserves huge props for his work throughout.) The young woman walks up to a big-wig sweltering in a suit and stabs him to death. Next, we see her join the ranks of a group of women in a hotel elevator, all of them wearing turquoise track suits. She stares at her reflection and sobs uncontrollably, as whatever voltage coming into her from the electrode does its work. A young woman ( Gabrielle Graham) stands in the bathroom of a hotel room, and jams an electrode into her skull, blood oozing out around the wound. The film starts strong, pulling you into its mystery and strangeness. Still, there's much here that is imaginative and fresh.
Its energy is ponderous and glum, and the provocative ideas are not given a chance to really take on a life of their own. "Possessor" is humorless, start to finish. It gets the job done quicker and more effectively than straight drama or tragedy. Sometimes humor is the best way to communicate really sharp ideas and concepts. With excellent actors like Andrea Riseborough and Christopher Abbott, playing characters who, at times, inhabit each other, "Possessor" is always interesting to watch, but there's something missing, a clarity of focus and intent. Cronenberg has a feel for the cinematic possibilities in the mundane (never has a double line of brick houses looked so ominous).
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There are some really interesting ideas swimming around in Brandon Cronenberg’s “Possessor,” a hybrid sci-fi and body-horror, ideas about gender and identity and artificial intelligence, plus a vast serving of paranoia about our corporate overlords and their nefarious activities.
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