In the near-future, Tasya Vos works as an elite assassin for a shadowy organization that uses brain-implant technology to control other people’s bodies and carry out high-profile murders. Entering a host’s mind through a neural link, Vos lives in their skin until the mission is complete, then forces her puppet to commit suicide to return to her own body. Years of being complete strangers has begun to erode her sense of self, leaving her detached from her husband and son, and haunted by intrusive violent impulses in her personal life. Despite growing mental instability, Vos accepts a lucrative contract to eliminate a wealthy CEO, John Parse, and his daughter, Ava, by taking over the body of Ava’s fiancé, Colin Tate. While embedded in Tate’s life, Vos struggles to maintain her cover as her symptoms worsen. The assassination spirals out of control when only one target is killed, and Tate’s force of will disrupts the implant. With her control gone, Vos becomes trapped in a dangerous mental struggle against Tate, who soon learns of her family from her thoughts. As identities blur, the mission turns into a battle for dominance. Vos is forced to navigate a collapsing reality where her survival and personality are at stake.
The main complaints I see about Possessor are from those who think director Brandon Cronenberg is trying too hard to recreate the style of his father, renowned sci-fi director David Cronenberg. However, I don’t think this is a valid critique in the slightest, mostly because of how well the experimental imagery used creatively displays the psychological experience of literally becoming someone else. It’s understandable that the son of such a renowned director would be influenced by him as well, and Brandon is doing far more than just copying daddy. Possessor was, for me, a perfect sci-fi film. Fun retrofuturism, timeless style, a thrilling psychological plot, and highly dubious morality on all sides place this often overlooked film on the same level as something like Blade Runner or The Thing in terms of cinematography, creativity, and enjoyability. If your patrons are bored by the likes of the new Star Wars or Extended Marvel Universe Movie Number 18, they might find that Possessor is exactly the modern cinematic fix they desire. Highly Recommended. Editor’s Choice.
Should libraries and classrooms add this sci-fi horror film to their collections?
Absolutely. Possessor is a standout example of contemporary science fiction horror that blends retrofuturistic aesthetics with a deeply psychological narrative. Its mix of high-concept sci-fi, graphic horror, and philosophical themes makes it a strong addition for libraries looking to expand their genre offerings. The film will especially appeal to patrons interested in cerebral science fiction that challenges identity, technology, and morality rather than relying on spectacle alone.
How can this sci-fi horror film be used in film studies and media courses?
This film provides fertile ground for classroom discussions on authorship, genre, and cinematic style. Students can analyze how Brandon Cronenberg both inherits and diverges from his father’s filmmaking legacy, while also studying how experimental imagery conveys fractured identity and psychological breakdown. Its ambiguous morality and stylized violence also make it a useful case study for exploring ethics in media, the aesthetics of body horror, and the cultural anxieties embedded in near-future science fiction. Paired with classics like Blade Runner or Videodrome, Possessor can spark lively debate on the evolution of sci-fi cinema.
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