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Bloody Battle for the Self: 1on1 with Brandon Cronenberg (POSSESSOR)

October 5, 2020 by Steve Norton Leave a Comment

Brandon Cronenberg is no stranger to a bloody mess.

As the director of Antiviral and son of one of the pioneers of body horror films, Cronenberg is more than comfortable wading through rivers of blood in order to investigate deeper ideas about the human experience. As visceral as it is mesmerizing, Cronenberg’s latest film, Possessor, is another violent exploration of mankind’s psychology that isn’t afraid to attack the senses. 

From a purely sensory perspective, the film’s violence—while graphic—looks great onscreen and a key part of that process is the cocktail used to depict the film’s blood. While Cronenberg isn’t sure what made up the mixture specifically, he appreciates the amazing work done by his visual effects team.

“The blood was spectacular and I can’t tell you too much about it because it was actually a secret recipe,” he beams. “I don’t know what it was. We had this fantastic effects artists, Dan Martin, and he’s responsible for so much of the wonderful practical trickery. He had some contacts who had this incredible formula for this very advanced kind of fake blood, which looks amazing. It actually coagulates like real blood and then washes off anything incredibly easily… I don’t even know if he knows what’s in it because it’s someone’s secret formula.”

More importantly, however, Possessor is yet another complex mindtrip from the young filmmaker that uses sci-fi elements to challenge our ideas about who we are. Written and directed by Cronenberg, Possessor follows Tasya Vos (Andrea Riseborough), a corporate assassin who allows her consciousness downloaded into the minds of others so that can commit murders for the benefit of the company. Tasya has a special gift for her craft. However, with each host that she inhabits, Tasya becomes increasingly broken by her experiences, leading to violent memories and urges that she must suppress in her ‘real’ life. When she accepts a mission to kill the head of a major corporation (Sean Bean), her host Colin (Christopher Abbott) begins to fight back against his unknown mental assailant, causing Tasya to lose control and potentially remain trapped in a prison of his consciousness.

Using Tasya as a key example, Possessor highlights our struggle to know who we are in an age where the nature of identity is increasingly difficult to pin down. Though his characters slip in and out of the bodies of others, Cronenberg believes that, ultimately, our identity cannot be separated from our physical selves.

“I don’t really think there’s a difference between mind and body,” he explains. “I think it’s all the same. I think the mind is really a process of the brain and you can’t really disconnect the two. Even though in the film, it plays it a little bit like that through the science fiction because she’s, in a sense, inhabiting other people’s bodies remotely, that’s more of a metaphorical thing to discuss identity. In reality, I don’t think those can be really separated.”  

Cronenberg goes on to explain that he believes that most people are simply presenting themselves for the benefit of others, rather than honestly depicting their true self.

“Ultimately, I don’t really think we have a true self…,” he points out. “I think it’s all to a certain degree performance. Sometimes we’re performing for other people, sometimes we’re performing for ourselves. So definitely there is an interesting–and I would say common–experience of being in a particular situation or trying to accomplish something and not being able to see yourself in it somehow because it’s at odds with your identity, whether it’s imposter syndrome or it’s just that disconnect between our own self-image and how other people see us.”

One of the more fascinating aspects of Possessor is its willingness to engage the notion of personal responsibility. While characters commit acts of violence, they are certainly not of their own free will but they must still face the consequences. With this in mind, Cronenberg says that he believes the notion of culpability is far more complicated than we like to think.

“One of the things that I keep coming back to what I’m writing… is the process by which we construct a sense of unified self, despite the fact that that doesn’t really exist,” he contends. “I think a human being is a chorus of conflicting impulses and ideas and emotions. Some of those come from our own brains, some of them don’t. There’s a very interesting science being done examining, for instance, human microbiomes and how other microorganisms in our digestive tract or parasites can affect our personality and affect our behaviors. Of course, in a more figurative sense, there’s the question of maybe what you could call psychological infections, how we pick up ideas from other people and claim them for ourselves. That’s especially interesting and kind of terrifying right now, [especially] when you look at what’s happening on social media and, for instance, foreign states meddling in the US elections. We are, in a sense, hackable now because we’re so completely online, but I don’t think we really yet understand what human society is becoming because of that. A lot of people believe that they have certain ideas that they’ve generated themselves, but they’re actually being manipulated in fairly nuanced ways online.” 

As a result of his research, Cronenberg also discovered some fascinating studies into brain functions and how they drive our actions and responses.

“I did some research into the neuroscience behind brain control,” he continues. “One of the things that I found was a Spanish doctor named Jose Delgado [who] had done some experiments in the United States involving brain implants in animals and human beings. There is a scene in the film where a kind of documentary plays on the television. There’s this bull fight and the bull has been implanted with this receiver. That’s actually footage from one of his experiments… The spot in the brain that he put this wire was stimulating different areas of the brain electrically and, because of where that wire was, the subject was acting in response to the stimulation but then claiming those actions for themselves. So, for instance, every time the experimenter pressed the button, the subject would get up from his chair, walk in a circle and then sit back down again. But every time he did that, he would insist that he had done it of his own free will. He [thought that] he was just looking for shoes or that he had heard a noise somewhere and was going to investigate. So, I think there’s a very interesting process of the brain by which we, in a sense, determine after the fact whether an idea or an action was generated internally. I think has fascinating scientific and philosophical implications.“

Given Possessor’s narrative complexity, Cronenberg enjoys the fact that there are any number of readings to the film’s meaning. One such alternative view is that the film’s subtext is that Tasya’s violent nature suggests an inner tension as she attempts to balance her career and family. To Cronenberg, this aspect of her character speaks primarily about the disconnect between her more animal impulses and the expectations of her domestic life.

“To me, the career aspect of it is maybe a part of a broader struggle that we have again with how internally we see ourselves, but also, on a certain level, we’re all apes living these animal lives but in this strange civilization that we’ve built for ourselves. So, I think who we are internally is very chaotic and animal and then who we are as a result of civilized society is somehow very restrained. I feel like there’s often a disconnect between what’s expected of us and this kind of inner turmoil that we deal with. That’s certainly true in the professional sense… I wanted to comment to some degree on how all of us are dealing with that specific. In Tasya’s case, [it’s] a very pronounced disconnect because she has this sense of violence in her and these impulses which are still at odds with what’s expected of her in this civilized domestic setting. In many ways, that is more horrific to her than the violence.” 

Violence is key within Possessor, not only because of its graphic visuals but also because it becomes an external representation of the inner turmoil that Tasya’s character experiences throughout the film. 

“Her relationship with violence is very much at the heart of her character so the violence in the film is really very much narrative. I felt it had to be a visceral,” notes Cronenberg. “People had to feel on a sort of almost bodily level what she was experiencing emotionally and it also tracks what’s her psychology. So, sometimes you’re seeing it from a more observational perspective and then looking back on it and it’s this more sort of stylized, almost fetishistic thing, for her. I don’t want to go too far in analyzing the characters because… the narrative arc [was] designed to leave a little space for various interpretations from the audience… but certainly I was thinking of her in some sense like one of those drone pilots who experiences PTSD because of the violence that they’re engaged in even though they’re engaged in it remotely. Yet at the same time, there’s something in her character that’s very much drawn to it. I think it’s a bit of a question whether that’s something inherent to her or whether that’s something that’s being planted in her character by her mentor figure and by the corporation.” 

Possessor is now playing in theatres.

Filed Under: Featured, Film, Interviews, Reviews, VOD Tagged With: Andrea Riseborough, body horror, Brandon Cronenberg, Christopher Abbott, horror, Possessor, Sean Bean

Possessor: Plagued by our Shifting Selves

October 2, 2020 by Steve Norton Leave a Comment

“Pull me out.”

Such is the plea of Tasya Vos (Andrea Riseborough), a corporate assassin who allows her consciousness downloaded into the minds of others so that can commit murders for the benefit of the company. As the focus of Brandon Cronenberg’s latest sci-fi horror Possessor, Vasya has a special gift for her craft. However, with each host that she inhabits, Vasya becomes increasingly broken by her experiences, leading to violent memories and urges that she must suppress in her ‘real’ life. When she accepts a mission to kill the head of a major corporation (Sean Bean), her host Colin (Christopher Abbott) begins to fight back against his unknown mental assailant, causing Tasya to lose control and potentially remain trapped in a prison of his consciousness.

Possessor is a visceral and unsettling sci-fi horror that explores what it means to suppress our darkest urges. While the cast does an excellent job encapsulating Cronenberg’s vision (Seriously, when has Andrea Riseborough ever left a role wanting?), the real story to Possessor is Cronenberg himself.  Featuring complex characters and stunning (and often disturbing) visuals, Cronenberg continues to show maturity behind the camera.  With each long take and slow pan, his slow-burning lens becomes a predator, carefully stalking its prey with an almost soothing intensity. Then, in times of violence, Cronenberg goes the opposite direction, forcing the viewer to watch the unflinching horror that sits in front of them. At the same time, his use of bleeding and blinding colour palette paints a primeval portrait of the inner tensions of Tasya’s victims that blurs the lines of reality. In doing so, Cronenberg’s use of colour and camera almost become visual narrators, not only providing a backdrop for the story but plunging the viewer within it.

With this in mind, Possessor provides Cronenberg the opportunity to explore the fragile nature of identity in a world where we can become anyone in a digital space. As Tasya moves in and out of her hosts, she must fully immerse herself in their world. Not unlike the digital identities that we inhabit on a daily basis, Tasya’s experiences allow her to explore the lives of her psychological victims. However, she also loses a piece of her soul in the process. As a result, though she is hardly in love with her work, neither can she fully separate herself from it either. With each mission, the damage that she has caused continues to take a toll on her. 

Plagued by violent memories, her experiences in the minds of others cause Tasya to struggles to understand what it means to be fully human (or fully herself) anymore. While her husband and son welcome her home, her family brings her little joy. Violence has become her vice and she uses it to feel alive. To Vasya, the ‘jobs’ have become opportunities to experience closer personal connections in the midst of a disconnect—and gruesome—life. (One particular example of this comes when, after a particularly brutal mission, Vasya is asked why she used a knife to kill her victim, as opposed to the recommended gun.) In this way, Cronenberg’s view of identity focuses less on how we mature and grow from experiences but rather the perils of losing ourselves in the process and the damage that we may leave in our wake.

Though terrifying in its brutality, Possessor is far more than another example of graphic body horror. Never one to shy away from complex issues, Cronenberg again is willing to explore the instability of the mind at a time when we consistently put on social masks. By following Vasya’s psychological descent, Possessor reveals what can happen when the foundations our identities are shaken by taking on the roles of others. 

Possessor is available on VOD and in theatres now.

Filed Under: Featured, Film, Reviews, ScreamFish Tagged With: Andrea Riseborough, body horror, Brandon Cronenberg, Christopher Abbott, horror, Jennifer Jason Leigh, Possessor, Sean Bean

The Young Messiah: A Life Filled With Purpose

March 11, 2016 by J. Alan Sharrer Leave a Comment

Jesus in the TempleNow that we’re a few weeks from Easter, it’s about time for a feature-length film about the life of Jesus. And sure enough, one has arrived on the scene—The Young Messiah.  There is a twist, however: Jesus doesn’t die in this one.  Instead, we get to see a glimpse of his life “inspired by Scripture and rooted in history,” as the introduction notes. But it’s a glimpse that may ruffle the feathers of long-going churchgoers and theologians alike.  More about that later in the review. The film itself is well-done, with nice production values and good acting performances from the lead characters.  More than likely, it will do as well or better than the recent film Risen featuring Ralph Fiennes.

The Young Messiah (no relation to Handel’s masterpiece; this is based on the Anne Rice novel Christ the Lord: Out of Egypt) begins in an odd place for a film featuring Christ—Alexandria, Egypt. Joseph (Vincent Walsh) has heeded the command of the angel and taken the family out of Israel due to Herod’s plan to worship Jesus by killing him. When we first see him, something is different. He’s . . . a 7 year-old kid. He’s also being picked on and beat up by his cousin Eleazar, who walks away, slips on an eaten apple, hits his head on a rock, and dies. The eaten apple is provided by a demon in black (Rory Keenan, looking like the stereotypical Jesus in Sunday School materials), who follows Jesus (Adam Greaves-Neal) around throughout the film. When nobody is looking, Jesus goes into the room where Eleazar’s body is located, asks him to get up, and the dead boy comes to life—but not before kicking Jesus a few times.  It seems Jesus has brought things to life before—in a flashback, the viewer sees a bird return to life in his hands.

Joseph, Mary, and JesusHerod dies and the family returns to Israel, but not before Joseph and Mary (Sara Lazzaro) have a discussion that involves the line, “How do we explain God to his own son?”  Yes, Jesus doesn’t quite understand his role in the redemption of the world—I doubt many 7 year-olds would. In the meantime, Herod’s son wants Christ killed and sends the Roman centurion Severus (Sean Bean) to make it happen.  Through many close calls, Joseph and the family return to Galilee, but are not too far from being captured by Severus and his squad. It’s when Jesus asks his parents to go to the Temple in Jerusalem for Passover that the film takes off (and before you ask, he does not say, “Did you not know I had to be in my Father’s house?”).  This leads to a powerful confrontation between the young Jesus and Severus that is quite well-done.

Jesus faces SeverusI’m sure many Christians are going to have difficulty reconciling the film to their own understanding of Scripture due to 1) Jesus’ age (the first mention we get of him outside of the Wise Men is when he’s 12 years old) and 2) his limited understanding of the role he would play to save the world.  But in the context of the film itself, both work pretty well (remember: it’s inspired by Scripture, not Scripture). Director Cyrus Nowrastah takes care to cater to the faith-based audience (the Scripture verse at the beginning is taken from the ESV—I checked) and Jesus’ interactions with the rabbis are powerful. When Joseph and Mary take the family on a path lined with crosses, they quote Psalm 23 in its entirety.

Of course, it’s important to note that Jesus was eventually on a road in his earthly life that would lead to death via crucifixion (and later, resurrection). The Young Messiah doesn’t provide an alternative to that option, so it stays true to what Scripture implies in that aspect. The end result is a surprisingly watchable film that makes a person think, reflect, and (hopefully) discuss with others.  And isn’t that what we want to do as we approach Easter?

Filed Under: Film, Reviews Tagged With: Adam Greaves-Neal, Anne Rice, Cyrus Nowrastah, Easter, Handel, Jesus, Joseph, Mary, Ralph Fiennes, Risen, Rory Keenan, Sara Lazzaro, Sean Bean, Severus, Temple, The Young Messiah, Vincent Walsh

Jupiter Ascending: Open Up Your Eyes

June 2, 2015 by Jacob Sahms 2 Comments

jupiterascendingJupiter Ascending is either as awesome–or as terrible–as you’ve heard. It’s not the kind of movie that can be seen as middle-of-the-road, given its Wachowski Brothers spin that sees The Matrix mashed up with Star Wars in a way that only the guys behind The Matrix Trilogy, V For Vendetta, and Speed Racer could create. It’s over-the-top, CGI, and galactic, with a cynical female lead (Mila Kunis) who draws the powers of the universe into an epic collision while spouting lines (“I love dogs”) in the most ridiculous settings. Love it or hate it, you’re all in either way.

Jupiter (Kunis) grows up with a deep-rooted desire to see the stars. What she doesn’t know is that she’s part of a semi-eternal clan of aliens who rule the galaxy, of which Earth is just a small part. (I told you, it’s galactic.) Jupiter cleans toilets, deals with her extremely lame family (one of them suggests she have her eggs harvested to help him get a bigger TV), and wishes she was anywhere else.  However, all hell breaks loose on Earth when one of her alien siblings discovers she exists and wants to kill her to get her inheritance.

Thankfully, Jupiter isn’t alone: she’s got Channing Tatum, er, Caine Wise, part-dog, part-human soldier on her side. And Stringer (Sean Bean) jumps in out of loyalty, too. So, it’s Jupiter, Caine, and Stringer against the galactic forces of the Empire, er, House of Abrasax, headed up by Eddie Redmayne’s Balem. [Ironically, Balaam is the name of the prophet in Numbers 22:1-39 whose donkey speaks to him. Does that have anything to do with the film? Probably not, but with this melting pot of a flick, it’s always possible. Seriously, Redmayne’s character is an ass.]

jupiterascending2Balem thinks that Earth should be his, mostly because his an insufferable bad guy who drips evil and refuses grace to his reptilian sidekicks. It’s all uphill battle for the final fight between Balem and Jupiter, but we know that nearly from the moment it’s all laid out by the beginning. The film itself doesn’t care how direct or obvious it is: it’s busy taking shots at immigration, diplomacy, the DMV, and how much it stinks to be a house cleaning maid. There’s plenty of sociological exploration of entitlement and classicism, too, that reads like a much more on-the-nose examination than Neil Blomkamp’s District 9. The Abrasax definitely think they’re due, and everyone else owes them. Because Jupiter didn’t believe in all of this from the get go, she’s more of a commoner-turned-queen (think Pierce Brown’s Red Rising trilogy).

Overall, I found Jupiter Ascending to be entertaining in a campy sort of way. It’s derivative but it knows it. And it plays Kunis and Tatum off of each other, quite well. It wants us to be entertained, but it also asks us how much we accept about the world because someone else says so. What do you believe? Who tells you what your reality is? How do you determine what’s right and what’s wrong? From a pastor’s perspective, there are plenty of voices (like the different Abrasax siblings) who want to tell each of us what to believe [Editor’s note: consider what news station you watch, and which one you believe is ‘right’.] How we determine truth, and what we believe to be undeniably, unalterably, absolutely true shapes the way we live.

jupiterascending3I believe undoubtably that Jesus Christ was God’s one and only Son, who died on the cross for everyone’s sins and rose again (Romans 1:16!) I’ve studied and seen it worked out, I’ve experienced God’s grace. I’m still learning and I’m sure the ways I understand God’s grace will grow. But this is truth – and not just because someone told me. I learned it but I had to unlearn some things, and I had to grow.

Just like Jupiter. She starts out naive and blind to the way the world works. Sean Bean’s Striker tells her, “I don’t believe that most people want to know the truth.” Jupiter says, “I want to know.” The truth about the galaxy follows, and her eyes are opened: she sees, and seeing changes everything.

Filed Under: DVD, Film, Reviews Tagged With: Channing Tatum, Eddie Redmayne, Jupiter, Mila Kunis, Sean Bean, Wachowskis

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