Smile Director, Pattinson Team Up for Possession Remake Buzz
– Parker Finn is set to write and direct a remake of the 1981 cult horror film “Possession,” with Robert Pattinson producing and potentially acting, sparking a bidding war among major companies like A24, Netflix, and Paramount.
– The original “Possession,” a psychological horror reflecting on marriage, achieved cult status over time; Finn aims to create a more expansive, yet intimate, adaptation while riding on the success of his breakout hit, “Smile.”
“Smile” filmmaker Parker Finn is embarking on a new journey, leaving behind the mundane horrors of our world and looking to the stars. He’s found an ally in this creative venture with none other than Robert Pattinson, the chameleonic actor known for both blockbuster hits and art-house fare. Together, they are set to reimagine “Possession,” a film that has achieved a certain reverence in the realm of psychological supernatural horror since its introduction by Andrzej Żuławski in 1981.
Their collaboration has captivated Hollywood, sparking an intense competition for the rights among industry titans like A24, Netflix, Paramount, Sony, and Warner Bros. Inside sources suggest that talks are underway and the excitement is palpable, hinting at the potential for even more studios to join the bidding war. It’s an early indicator of the project’s high commercial prospects and the combined drawing power of Finn and Pattinson.
With Finn at the helm to pen and direct, and Pattinson stepping into the role of producer through his company Icki Eneo Arlo, the project promises a high caliber of creative leadership. Roy Lee of Vertigo Entertainment, noted for his work on “Barbarian,” is also on board as a producer. Meanwhile, Pattinson may grace the screen once more, dependent on how the screenplay takes shape and dovetails with his commitments.
The original “Possession” is set against the bleak backdrop of West Berlin and dives into the tumultuous relationship between a spy, portrayed by Sam Neill, and his wife, played by Isabella Adjani. The unraveling of their marriage is not just a private struggle but also morphs into an otherworldly tale involving infidelity, neglect, murder, a mysterious tentacled entity, and eerie doppelgangers. Żuławski used the narrative to reflect on his own disintegrating marriage, imbuing the film with a raw and personal edge.
Although the movie wasn’t initially received with fanfare, it has risen in esteem over the years, celebrated for Żuławski’s unyielding commitment to his vision and its esoteric allure. This unique blend of personal drama and fantastical horror is precisely why industry leaders are buzzing about the remake’s possibilities, discussing not only its outlandish aspects but also its strong market appeal.
Finn is no stranger to success. His feature debut “Smile” delivered a chilling premise that captivated audiences worldwide, grossing over 6 million. Following that victory, he secured a first-look deal with Paramount and is now in the process of completing “Smile 2.” Notably, “Possession” escapes the confines of this deal, prompting Paramount, among others, to vie for a piece of the pie, having been impressed with the sequel’s prospects.
While Pattinson has momentarily stepped back from the limelight since “The Batman,” he’s preparing for a comeback in Bong Joon Ho’s “Mickey 17,” which will reaffirm his stature in the cinematic landscape in January 2025. Both Finn and Pattinson are backed by prestigious representation, laying the groundwork for professional guidance and support as they embark on this high-profile venture.
As Finn broadens his artistic horizons beyond the horrors of “Smile,” the reimagining of “Possession” seems to loom as an ambitious undertaking that seeks to mix expansive creative ambition with the intimate storytelling that resonates with audiences. This melange of thought-provoking material and box office charm could well be an exemplar of genre filmmaking, appealing to both critics and the general public alike, sealing Finn and Pattinson’s status as formidable forces in modern cinema.
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