Possessor

Tasya Vos is a top tier corporate assassin who uses a brain implant to possess other people and complete high profile hits. She views the world through her hosts, bending their bodies to perform grim tasks while she stays largely in control. On her latest assignment, the line between vessel and self begins to blur as the mission spirals. A hostile presence inside the host fights back, turning the job into a dangerous psychological trap. As the control tightens, Vos finds her own identity at stake and the consequences may be irreversible. The film keeps the most shocking elements tightly under wraps. The conflict unfolds within glossy boardrooms and sterile clinics, heightening unease.

Brandon Cronenberg directs Possessor, an original screenplay examining control and identity. It premiered in 2020 at the Toronto International Film Festival, then saw a limited theatrical release. With a budget around 2.5 million, the film maintains a stark, clinical feel.

Possessor stands out for its stark, unsettling approach to body horror and corporate ethics. Andrea Riseborough and Christopher Abbott deliver tense performances, while Cronenberg's clinical visuals and sharp sound design linger after the credits, shaping later conversations about autonomy and technology in genre cinema. Its imagery sticks with you ultimately.

Critics praised its premise, its atmospheric tension, and the questions about identity, control, and the cost of corporate obedience. Some noted the film's brutality as a reflection of modern power structures, making Possessor a standout entry in recent sci-fi thrillers. Its questions about autonomy linger long after the credits.

Possessor drew praise from critics and earned festival and genre award recognition, reflecting its striking concept and craft. The movie's daring direction and values were highlighted by juries and audiences, even if it didn't become a top awards contender. It stands as a decisive statement in modern cinema.