
<p><em>Possum</em> (2018) will surely resonate with some viewers more than others. Anyone who has experienced childhood trauma or lived through abuse knows the confusing feelings of fear, shame, and guilt. Matthew Holness’s debut film is certainly a monster movie, but it takes quite a while to realize what — or who — is the monster. <em>Possum</em> borders on a modern-day silent film, with minimal dialogue and an emphasis on visual and psychological dread. It’s the kind of film that creeps under your skin and stays in the back of your head for a long time after the credits roll.</p>



<p>The film follows Philip (Sean Harris), a reclusive and mentally unstable puppeteer. We meet Philip after a bad experience on the job, leaving him disgraced and unable to secure more work. Philip encounters a teenage boy on a train, and shortly after the boy goes missing, police begin looking to Philip for answers. To make matters worse, Philip finds himself in possession of a monstrous, half-human, half-spider puppet. Despite his best efforts, he cannot destroy it. He attempts to throw the puppet away, drown it, and even leave it in the marshes, but the horrific puppet always seems to find its way back to him.</p>



<p>Philip’s anguished life is made all the more bleak by the presence of his sadistic uncle, Maurice (Alun Armstrong), who takes up residence in Philip’s dilapidated home. Though the two only exchange brief and often hostile words with one another, Philip seems powerless to make his uncle leave. Much like the hideous puppet, Maurice cannot just be thrown out.</p>



<p>Matthew Holness works hard to create a desolate, depressing atmosphere. In various long takes, we witness Philip trudging through the ugly urban landscape and lifeless marshes near his home. On occasion, he ventures out into the forest, where the spindly branches resemble the legs of his puppet. Even when he returns home, his house is in a state of disrepair — a reflection of his declining mental state.</p>



<p>Both Sean Harris and Alun Armstrong give unforgettable performances, albeit in very different ways. Harris enters each scene as if he’s unsure whether or not he should be there. His hands dangle helplessly in front of him as he walks from dreary place to place. He mumbles his words of defiance, but they go unheard, lost in a world that despises him. Alternatively, Maurice is the picture of nastiness and cruelty. He sneers at Philip’s weakness, though there are brief moments when he shows interest and perhaps concern for Philip. However, these moments don&#8217;t last very long or feel particularly genuine.</p>



<p>One can’t help but feel unrelenting pity for Philip and pure disgust for Maurice. Meanwhile, the puppet turns an otherwise melancholic drama into a story of psychological and Freudian terror. I will say that we never truly come to understand the puppet. However, the final act provides a very graphic and horrifying glimpse into its existence. Throughout most of the film, you feel swept through a surreal world. An unreliable protagonist drives us forward, even though he doesn’t have the emotional strength to face his demons. Is the puppet real, or is it a product of Philip’s imagination? Did he create it to deal with his trauma, or is it a result of the trauma itself? We never really get the answer to these questions, but the lack of clarity only adds to the quiet horror of Philip’s life. ;</p>



<figure class="wp-block-image aligncenter size-large"><img src="https://philosophyinfilm.com/wp-content/uploads/2021/01/MV5BNzU2ZGQ2MzUtY2RlNS00NmM1LTlkMzctZjgzNmZmOWZhMjRhXkEyXkFqcGdeQXVyODU3MDc2NzI@._V1_-1024x576.jpg" alt="Possum (2018) pedophile" class="wp-image-2182"/><figcaption class="wp-element-caption"><em>Possum</em> (2018)</figcaption></figure>



<p>If one were to make any criticism of <em>Possum</em> (2018) or Matthew Holness’s direction, it might be that Holness has created a moving painting that moves just a bit too slowly. Throughout the majority of the film, the pacing is almost non-existent. We watch Philip walk from place to place, bag in hand, desperate to rid himself of the puppet. His conversations with Maurice reveal very little, and we only come to see the puppet in all its gruesome glory once the film is nearly finished. That said, the finale more than makes up for the sluggish start. </p>



<p>By the final act, the film rips the audience from the “comfort” of surrealist horror. It thrusts us into a dark and depraved reality. The story elements that were once so surreal become all too real, amplifying the sense of terror to near-unspeakable levels. Everything that once seemed bizarre and out of place suddenly comes into clear view. I hesitate to say much more, as the film is best experienced with little prior knowledge of the plot. This is not to say that the finale answers all of our questions; far from it. However, it gives us just enough explanation to be mortified by Philip’s past and somewhat keyed into his present state.</p>



<p>In my opinion, <em>Possum</em> is one of the most effective psychological horror films of the 21st century. With little dialogue and almost no jump scares, it does what many other horror films try — and fail — to do. It makes you physically uncomfortable by luring you into a demented and depressing world, only to reveal that the true horror lies in our own reality. It may seem like I’m speaking in riddles, but I wish to reveal as little about the film’s narrative as possible. To watch it in full is to understand it. Anything that I write could never do it justice. ;</p>



<p>For many, <em>Possum</em> (2018) may not be an easy watch; it drags along slowly, only to shock you with its abrupt and jarring finale. Despite being a difficult viewing experience, I think it is a necessary one. The film addresses so many difficulties and mental barriers that victims of abuse must live with every day. The shame, guilt, fear, anxiety, and depression that come with childhood trauma are all realized in a truly horrifying way. Matthew Holness takes the visual style of a silent-era horror film and centers it on a horrific monster. Then, when you least expect it, he makes you sick with the truth that lies just under the surface. Assuming you’re up for the challenge, I highly recommend <em>Possum</em> — not just to horror fans — but to anyone who wonders what it must be like to live through childhood abuse.</p>



<h3 class="wp-block-heading"><em>Possum</em> (2018) Movie Rating: ★★★★½ out of 5</h3>



<p>If you’d like to watch <em>Possum</em> (2018), it is currently available to <a href="https://www.amazon.com/gp/product/B07HNKX7J2/ref=as_li_qf_asin_il_tl?ie=UTF8&;tag=mjones34880c-20&;creative=9325&;linkCode=as2&;creativeASIN=B07HNKX7J2&;linkId=647b60492aa82efbd85c0706a5d8c719">stream, rent, or purchase via Amazon</a>. For more film reviews like this one, be sure to check out the <a href="https://philosophyinfilm.com/">Philosophy in Film Homepage</a>!</p>

Review: Possum (2018), the Terror of Childhood Trauma
