Possessor is there to fill space on screen or eat up empty minutes. A line of absolute intent threads every image, sound or scene together to create a lattice of double, triple meanings that the viewer is tasked with untangling and then untangling some more.
Andrea Riseborough (
Mandy, The Death of Stalin) drifts across the lens as the weary and ethereal Tasya Vos, a corporate assassin who kills through the skin of others. By hijacking a stranger with the access and motive, her shadowy employer creates the perfect crime, ending with a gun between the teeth to facilitate the extraction. Except that Vos can somehow no longer kill ‘herself’ and instead ends the rampage of the opening sequence with ‘suicide by cop.’