---
title: "Possessor"
year: 2020
kind: "film"
canonical: "https://film.one/film/possessor"
fi1m_id: "possessor"
imdb_id: "tt5918982"
tmdb_id: 435615
wikidata_id: "Q60849823"
fi1m_score: 73
critics_score: 75
critics_reviews: 25
published: "2026-10-06T04:32:57.251927+00:00"
updated: "2026-10-06T04:32:57.820625+00:00"
region: "AU"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Possessor (2020)

Directed by Brandon Cronenberg · 1h 43m · ACB R18+ · Horror, Thriller, Science Fiction

## Identity

Possessor

- **Canonical:** https://film.one/film/possessor
- **Type:** Film
- **Fi1m ID:** possessor
- **IMDb ID:** tt5918982
- **TMDB ID:** 435615
- **Wikidata ID:** Q60849823
- **Same entity:** https://www.imdb.com/title/tt5918982/, https://www.themoviedb.org/movie/435615, https://www.wikidata.org/wiki/Q60849823

**Fi1m score: 73** · Critics 75 from 25 reviews

*In a sentence:* The assassin wears another man’s body to work, and by Wednesday neither of them wants it back

> Brandon Cronenberg’s second film puts an assassin inside a stranger’s body and watches the two of them fight for the steering wheel. It is cold, violent, handsomely shot and sharper about surveillance than about people. Worth your evening if you have the stomach.

## Synopsis

Tasya Vos (Andrea Riseborough) kills people for a living without ever being present. A company run by Girder (Jennifer Jason Leigh) implants her mind into a stranger’s body; she carries out the murder wearing their face, then turns the gun on the host and wakes up in a chair back at the office. It opens mid-job: Holly (Gabrielle Graham), a wire in her scalp, walking into a party. Vos is worn down, rehearsing small talk before she can face her husband Michael (Rossif Sutherland) and son Ira (Gage Graham-Arbuthnot). Girder gives her a bigger contract: enter Colin Tate (Christopher Abbott), fiancé of Ava Parse (Tuppence Middleton), and kill Ava’s father John Parse (Sean Bean), who runs a data company. Colin, it turns out, does not intend to stay quiet.

## Review

Brandon Cronenberg’s second film is colder, cleaner and more frightening than his first, *Antiviral* (2012). Tasya Vos (Andrea Riseborough) kills for hire from a chair miles away: a company run by Girder (Jennifer Jason Leigh) wires her mind into a stranger’s body, she does the murder wearing their face, and the plan is that the host then puts a gun to their own head and Vos wakes up back at the company. Her new job is Colin Tate (Christopher Abbott), engaged to Ava Parse (Tuppence Middleton), whose father John Parse (Sean Bean) runs a data company. Colin does not go quietly. The film is well made, hard to watch and sharp about surveillance, and we recommend it, warning you now about the violence.

Karim Hussain shoots it in deep red and chemical blue, and the transfer sequences look as if they were done in front of the camera rather than inside one. A wax head with Riseborough’s face softens and runs; Abbott’s features push up through hers like a face through a sheet. Jim Williams’s score is synthesisers that drone for a long time and then stab. Rupert Lazarus’s production design keeps Girder’s premises white, bare and medical, and gives the Parse house glass, hard surfaces and nothing out of place.

The film’s sharpest idea is Colin’s job. He works for his future father-in-law in a dim open-plan office of people in headphones, looking through strangers’ webcams and logging the make and colour of their curtains, which the company sells on. Nobody there finds this odd. Vos, inside Colin, has to do the work well enough to pass, and we watched her try with a dread that nothing bloodier in the film matched. It is also the one place Cronenberg lets himself be funny, and we wished he had stayed longer.

Riseborough plays Vos grey and withdrawn, a woman who stands outside her own front door rehearsing what she will say to her husband Michael (Rossif Sutherland) and son Ira (Gage Graham-Arbuthnot) before she can go in. Abbott has the harder job: he is Colin, then Vos doing a poor impression of Colin, then both at once, and he marks the changes with a half-second’s wrongness in the eyes. Sean Bean enjoys himself as a rich man who is rude for sport. Jennifer Jason Leigh’s Girder speaks to Vos the way a good manager speaks to a valued employee who is about to be let go.

The violence is frank. The opening killing, which Holly (Gabrielle Graham) carries out at a party with a knife, is shown close, and Cronenberg holds the shot several seconds past where most directors would cut. We flinched, and we do not flinch easily. The 18 certificate is not a formality. Later set pieces are harder still, and we will not describe them, except to say that the film does things to a face we had not seen done before.

What the film lacks is a person at its centre, which is partly the point and partly a fault. Cronenberg wants us to ask how much of Vos is left after years of this, but he gives Michael and Ira perhaps six minutes between them, so there is nothing to measure her against. The last half hour drifts into pictures: faces laid over faces, strobing, a great deal of red. Some are remarkable; the story stops while we look at them. Matthew Hannam’s editing, tight and clear for the first hour, goes slack here. A few critics found it empty; we understand the complaint without sharing it.

Cronenberg does not run from the comparison with his father: there are cables going into skulls and a company that owns your flesh, and anyone who has seen [*Videodrome*](https://film.one/film/videodrome) will nod. But the closer relative is the corporate thriller. The best material is about work, about clocking in each morning as somebody else and being judged on how well you pass, and that part is his own. It is a more disciplined film than *Antiviral* and a much more frightening one.

Watch it with the lights off and nobody squeamish on the sofa, and do not expect to feel better afterwards. It runs 103 minutes and does not need one more.

*Fi1m score 73, published 6 October 2026.*

## What the critics say

Most critics come away rattled and impressed. Nineteen of twenty-five reviews are positive, and the praise gathers in two places: the body horror, done in camera with practical effects, and the two leads. Andrea Riseborough’s slow loss of self and Christopher Abbott’s fight between host and intruder are named repeatedly as what holds the film together. The production design and sound are mentioned often, and several reviewers note that Brandon Cronenberg’s ideas and methods are his own rather than his father’s.

The reservations are about the shape of the story. More than one critic finds the final third drifts into abstraction, and IndieWire thinks the ending falls short of the set-up. Others say the coldness and the brutality keep viewers at a distance. The spread is wide: /Film gives it full marks, while The Wrap finds it accomplished to look at and empty underneath, and a waste of Riseborough. Consequence objects to unexamined racial imagery in the opening scene.

## Straight answers

**Is Possessor worth watching?**

*Possessor* is worth watching for anyone who can take frank, close-up violence, and we scored it 73. Brandon Cronenberg's film about an assassin wired into a stranger's body is cold, well shot and sharper about surveillance than about people, with a last half hour that drifts into pictures. Do not expect to feel better afterwards.

**How long is Possessor, and what is it rated?**

*Possessor* runs 1h 43m and is rated R18+ by the ACB in Australia. It is a horror and thriller film.

**Where can I watch Possessor in Australia?**

*Possessor* is streaming on Amazon Prime Video and Apple TV in Australia, and it is also available to rent from Apple TV from A$4.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Possessor, and is it suitable for children?**

*Possessor* is an 18 in the UK and R in the US, and it is not suitable for children or younger teenagers. The violence is shown close and held longer than most directors would dare, including an opening knife killing at a party, and later set pieces do things to a face we had not seen before. The squeamish should sit this one out.

**How does Possessor compare to Videodrome?**

*Possessor* is Brandon Cronenberg's film and [*Videodrome*](https://film.one/film/videodrome) is his father David's, and the shared family appetite shows in cables into skulls and companies that own your flesh. The son's film is the colder and more disciplined of the two, and its best material is a corporate thriller about passing as somebody else at work; the father's looks like nothing else but comes apart in its second half.

**What should I watch after Possessor?**

After *Possessor*, try [*Videodrome*](https://film.one/film/videodrome) (1983, Fi1m 82): The father’s film about a signal that gets into the flesh; same family, same appetite. Then [*Under the Skin*](https://film.one/film/under-the-skin) (2013, Fi1m 81): Scarlett Johansson wears a borrowed body through wet Glasgow; slower, stranger, quieter; and [*Being John Malkovich*](https://film.one/film/being-john-malkovich) (1999, Fi1m 89): The comic version: a portal into another man’s head, and a queue to use it.

### Reviews we read (25)

- **The Guardian**, Peter Bradshaw (90/100, inferred): Bradshaw finds the film an ingenious, unsettling sci-fi horror with a disturbing final twist. He praises its thought-through premise and queasy allegory of corporate control and surveillance. [Read](https://www.theguardian.com/film/2020/nov/26/possessor-review-brandon-cronenberg-andrea-riseborough-sc0fi-horror)
- **Variety**, Peter Debruge (90/100, inferred): Debruge praises the film as a bold, unsettling work with ideas and execution distinct from its director’s famous father. He singles out the lead performances and the inventive visual techniques that convey the characters’ struggle for control. [Read](https://variety.com/2020/film/reviews/possessor-review-david-cronenbergs-son-shows-he-has-a-will-of-his-own-1234789622/)
- **The i Paper**, Christina Newland (85/100, inferred): Newland finds the film stylish, brutal, and genuinely unnerving, calling it one of the year’s most unforgettable viewing experiences. She especially praises Andrea Riseborough’s portrayal of a woman losing her sense of self and the film’s eerie production design and score. [Read](https://inews.co.uk/culture/film/possessor-smartest-scary-movie-2020-brandon-cronenberg-review-773063)
- **The AV Club**, A.A. Dowd (B+): Dowd finds Possessor a stylish, provocative blend of science fiction and visceral horror, though it sometimes favors thrills over ideas. He praises Andrea Riseborough’s performance and the film’s unsettling exploration of identity. [Read](https://www.avclub.com/brandon-cronenberg-does-his-name-proud-with-the-nightma-1845234932)
- **Little White Lies**, Leila Latif (4/4/4): The critic finds the film fascinating and exhausting, calling it a nightmare that lingers. She praises its uncanny world-building, especially the detailed production design and sinister soundscape. [Read](https://lwlies.com/reviews/possessor)
- **Radio Times**, Josh Winning (4/5): The review is positive about Cronenberg’s audacious science-fiction horror. It singles out the queasy body horror and wickedly clever assassin plot for praise. [Read](https://www.radiotimes.com/movie-guide/b-qyuejy/possessor/)
- **Time Out**, Zach Long (4/5): The review gives the film a positive verdict. It singles out its grisly, mind-bending science-fiction approach as worthy of Cronenberg’s father. [Read](https://www.timeout.com/movies/possessor)
- **The Hollywood Reporter**, John DeFore (78/100, inferred): DeFore gives the film a strongly positive verdict, calling it sleekly executed and of its time. He singles out the unsettling visual effects and the performances by Andrea Riseborough and Christopher Abbott. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/possessor-review-1272650/)
- **Empire**, Chris Hewitt (75/100, inferred): Hewitt finds the film compelling, original and well presented, though its clinical chilliness may keep audiences at arm’s length. He praises its unsettling visuals and psychological exploration of identity and control. [Read](https://www.empireonline.com/movies/reviews/possessor/)
- **RogerEbert.com**, Nick Allen (3/4): The review finds the film an unsettling, effective science-fiction thriller. It praises the performances and Cronenberg’s disturbing, inventive approach to identity and violence. [Read](https://www.rogerebert.com/reviews/possessor-movie-review-2020)
- **Sight and Sound**, BFI (75/100, inferred): The critic finds the film visually arresting and intellectually sharp, though its brutality can be bludgeoning. They praise its vivid imagery and its probing of identity and dehumanisation. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/possessor-brandon-cronenberg-andrea-riseborough-remote-assassin)
- **Slant Magazine**, Chuck Bowen (3/4): Bowen finds the film a disturbing, visually forceful exploration of identity and technological control. He particularly praises its tactile, in-camera body horror and the surreal imagery of its battle over possession. [Read](https://www.slantmagazine.com/film/possessor-review-brandon-cronenberg/)
- **IndieWire**, David Ehrlich (B-): Ehrlich finds the film engrossing but muddled, with its story and third act failing to realize its potential. He especially praises the visceral body-transfer sequences, practical effects, and imagery of competing identities. [Read](https://www.indiewire.com/criticism/movies/possessor-review-sundance-1202205838/)
- **Los Angeles Times**, Noel Murray (70/100, inferred): The critic finds the film ambitious and ultimately effective, despite its increasingly abstract final third. Riseborough’s wounded, compelling performance is singled out as the element that grounds the film’s disturbing ideas. [Read](https://www.latimes.com/entertainment-arts/movies/story/2020-10-01/review-possessor-andrea-riseborough)
- **Screen Daily**, Wendy Ide (65/100, inferred): The visible page identifies this as a Sundance review but does not expose the critic’s verdict. Its standfirst describes the film as a lurid sci-fi thriller starring Andrea Riseborough. [Read](https://www.screendaily.com/reviews/possessor-sundance-review/5146251.article)
- **The New York Times** (64/100, inferred): The review’s verdict and specific praise or complaint cannot be verified from the accessible page. The page returned only a JavaScript and ad-blocker message. [Read](https://www.nytimes.com/2020/10/01/movies/possessor-review.html)
- **Vulture**, Alison Willmore (40/100, inferred): Willmore finds the film troubling and visually enthralling, but says it does not fully cohere. She especially praises its alien corporate world, while criticizing the thin characterization at its center. [Read](https://www.vulture.com/article/movie-review-possessor-directed-by-brandon-cronenberg.html)
- **/Film**, Chris Evangelista (10/10): The critic calls the film singular, horrifying, and exciting, while acknowledging that its extreme violence will appall some viewers. They praise Christopher Abbott’s demanding performance and Cronenberg’s precise, controlled direction. [Read](https://www.slashfilm.com/571895/possessor-review/)
- **HeyUGuys** (95/100, inferred): The critic calls it an intelligent, wildly ambitious sci-fi ride and praises its visceral practical effects. They also single out the vivid visuals and the lead performances for making its identity-conflict themes compelling. [Read](https://www.heyuguys.com/possessor-review/)
- **The Ringer**, Miles Surrey (85/100, inferred): Surrey gives the film a strongly positive verdict, praising its surreal, dread-inducing mood and striking visuals. He singles out its unsettling body-hijacking imagery and critique of technology as especially memorable. [Read](https://www.theringer.com/2020/10/02/movies/possessor-brandon-cronenberg-review)
- **The Playlist**, Robert Daniels (B): Daniels finds the film uneven but ultimately exhilarating, despite weak pacing and underdeveloped themes. He praises Christopher Abbott’s performance and the striking visuals, lighting, and practical effects. [Read](https://theplaylist.net/possessor-sundance-review-20200126/)
- **NME** (76/100, inferred): The critic finds the film ambitious and unsettling, though its abundance of ideas sometimes obscures its central thread. Riseborough and Abbott’s performances are singled out, with Riseborough’s emotional grounding especially praised. [Read](https://www.nme.com/reviews/possessor-review-brandon-cronenberg-2792606)
- **Eye for Film**, Jeremy Mathews (65/100, inferred): Mathews finds the film distinctive and unsettling, though not always coherent. He praises Christopher Abbott’s controlled portrayal of the struggle between host and possessor. [Read](https://www.eyeforfilm.co.uk/review/possessor-2020-film-review-by-jeremy-mathews)
- **Consequence**, Clint Worthington (60/100, inferred): Worthington finds the film provocative and appealing, though its extremities do not always work. He praises its neon-soaked atmosphere and practical effects, while criticizing the unexamined racial imagery in its opening scene. [Read](https://consequence.net/2020/01/sundance-film-review-possessor/)
- **The Wrap** (30/100, inferred): The critic finds the film visually accomplished but ultimately dispiriting, with little emotional substance. They particularly praise the cinematography and disorienting effects while faulting the film for neglecting character and wasting Andrea Riseborough. [Read](https://www.thewrap.com/possessor-film-review-brandon-cronenberg-andrea-riseborough/)

## Details

- **Director:** Brandon Cronenberg
- **Director:** Brandon Cronenberg
- **Writer:** Brandon Cronenberg
- **Cinematography:** Karim Hussain
- **Editor:** Matthew Hannam
- **Music:** Jim Williams
- **Production design:** Rupert Lazarus
- **Producer:** Niv Fichman, Andy Starke, Fraser Ash
- **Cast:** Andrea Riseborough as Tasya Vos; Christopher Abbott as Colin Tate; Jennifer Jason Leigh as Girder; Sean Bean as John Parse; Tuppence Middleton as Ava Parse; Rossif Sutherland as Michael Vos; Kaniehtiio Horn as Reeta; Raoul Bhaneja as Eddie
- **Runtime:** 1h 43m
- **Certificate (ACB):** R18+
- **Release (Australia):** 26 November 2020
- **Genres:** Horror, Thriller, Science Fiction
- **Budget:** $2 million
- **Box office:** $911,000
- **Trailer:** https://www.youtube.com/watch?v=ahn56QWkD0Y

## Where to watch in Australia

- Amazon Prime Video: add-on
- Apple TV: add-on, hd
- Apple TV: rent A$4.99, hd
- Apple TV: buy A$3.99, sd

*Checked 2026-10-06.*

Also available in: AE, AR, AT, AU, BE, BR, CA, CL, CO, DE, DK, EC, EE, ES, FI, FR, GB, IE, IT, LT, MX, NL, NO, NZ, PA, PE, PL, SE, UA, US. Add `?region=XX` to this URL for another country.

## Awards

- Sitges Film Festival Best Director award 2020: Sitges Film Festival Best Director award (won)
- Sitges Film Festival Best Feature-Length Film award 2020: Sitges Film Festival Best Feature-Length Film award (won)

## If you liked this

- *Videodrome* (1983), Fi1m 82: The father’s film about a signal that gets into the flesh; same family, same appetite. — [Fi1m page](https://film.one/film/videodrome.md)
- *Under the Skin* (2013), Fi1m 81: Scarlett Johansson wears a borrowed body through wet Glasgow; slower, stranger, quieter. — [Fi1m page](https://film.one/film/under-the-skin.md)
- *Being John Malkovich* (1999), Fi1m 89: The comic version: a portal into another man’s head, and a queue to use it. — [Fi1m page](https://film.one/film/being-john-malkovich.md)
- *Perfect Blue* (1997), Fi1m 82: Japanese animation about a pop star losing track of which life is hers. — [Fi1m page](https://film.one/film/perfect-blue.md)
- *Beyond the Black Rainbow* (2010): A Canadian institution, reds and blues and a mind held captive; even slower, equally handsome.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/possessor