Possessor Uncut
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Possessor Uncut

Possessor Uncut it is an almost inviolable rule that major directors, possessors of an unmistakable cinematographic Possessor Uncut universe, do not prolong that legacy in their children as unlikely successors. You cannot imagine a junior Hitchcock inheriting the burden of proof of vertigo and psychosis. Or a Bergman son carrying the oedipal chamber like a Lutheran chiaroscuro torment. A boat soon, the case of Sofia Coppola is rare in Hollywood, who has taken up Francis’s gear with carefree narcissism. In the most authorial fantasy there are also a couple of adventurous offspring. Nothing seems less mimic than the territories of two geniuses like Lynch or Cronenberg. And yet, there is a Jennifer Lynch who took arms and baggage to film films of the power of Surveillance, who went on to win the jackpot of this festival.

And there is a certain Brandon Cronenberg (Toronto, 1980) who debuted in Sitges in 2012 with the erratic and very lost Antiviral. Yesterday he threatened us again with another sonic attack on Possessor Uncut. As in his previous film, the plot is developed in the presumptuous abstraction of a large criminal corporation. A multinational design assassination that runs through a plan like Doctor No three to a quarter, inserting the mind of a very cool serial killer into mercenary bodies that immolate themselves for the cause. I suffer in the armchair without stopping to think about the wise and organic way in which the father metabolized his psychosomatic insanity on a screen even when he was the age of his son. And how complicated is this boy, giving plot twists like a dervish posture. His cinema is childish solemnity, abominable high tech inconsistency. He has everything to succeed in a record.