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Two people seated at a table on a patio at night, with candles and a view of a dark, hilly landscape in the background.
Review

Infinity Pool

by Hannah Strong

Alexan­der Skars­gård has a pret­ty bad trip in this vaca­tion night­mare from body hor­ror wun­derkind Bran­don Cronenberg.

3
Anticipation
4
Enjoyment
4
In Retrospect
A human face in a dark, red-tinted image. The face appears to be sleeping or unconscious, with eyes closed.
Festivals

Infinity Pool – first-look review

by Hannah Strong

Alexan­der Skars­gård has a pret­ty bad trip in this vaca­tion night­mare from body hor­ror wun­derkind Bran­don Cronenberg.
Incoming

Pay your way out of death in the trailer for Brandon Cronenberg’s Infinity Pool

by Charles Bramesco

Alexan­der Skars­gård and Mia Goth star in the thriller set at a resort hid­ing an under­side of depravity.
Four men in casual clothing standing in a corridor, one smiling.
Incoming

Brandon Cronenberg will adapt J.G. Ballard’s novel Super-Cannes for TV

by Charles Bramesco

He’ll make Bal­lard a fam­i­ly busi­ness with the vision of tech­no-dystopia in the south of France.
Portrait of a man with brown hair and eyes on a bright red background.
Interviews

Brandon Cronenberg: ‘We built a wax Andrea Riseborough’

by Leila Latif

The genre prodi­gy talks per­fect cast­ing and prac­ti­cal effects in his lat­est shock­er, Possessor.
Person wearing dark goggles in a dimly lit environment.
Review

Possessor

by Leila Latif

Bran­don Cro­nen­berg fol­lows up his impres­sive debut Antivi­ral with a vis­cer­al slice of hal­lu­ci­na­to­ry ultraviolence.

4
Anticipation
4
Enjoyment
4
In Retrospect
Blurred close-up of a person's face against a bright orange and red background.
Incoming

Brandon Cronenberg’s mind-jellying Possessor has gotten a first trailer

by Charles Bramesco

Christo­pher Abbott and Andrea Rise­bor­ough star in the psy­cho-hor­ror film.
Blurred close-up of a person's face against a bright orange and red background.
Festivals

Possessor – first look review

by Hannah Strong

Bran­don Cro­nen­berg sets late-cap­i­tal­ism in his crosshairs in this effec­tive – and very gory – social horror.