Black As Sin

POSSUM (2018)

Designed by Sydney-based Odd Studios, the titular creature is based on writer/director Matthew Holness' fear of spiders. After an original head had a more goblin-like design, found to be too emotive, a sculpture of lead actor Sean Harris lead to a blankness - similar to the Michael Myers visage - where viewers could project their own fears.

THE feature directorial debut of Matthew Holness, POSSUM is an expansion of his short story from The New Uncanny: Tales of Unease. Comma Press had the writers read Freud's theory of the uncanny, then asked them to choose a fear and provide a story (Holness combined two, doppelgängers and dummies). The film sees puppeteer Philip (Sean Harris) returning to his childhood home where his uncle Maurice (Alun Armstrong) has been living for some time, who raised him after the death of his parents. The haunted Philip revisits places significant to his formative years, as he attempts to understand the past and rid himself of his unnerving puppet, a spider with a human head and a thousand yard stare.

POSSUM draws on silent expressionist horror and English Gothic, especially THE INNOCENTS. Jack Clayton's adaptation of The Turn of the Screw shares a lot of POSSUM's foundation, namely an inherent sadness through problematic sexual awakening. This examination of trauma is expertly brought to live by performance and fractured narrative, and even the surrounding forest - with its warped branches - symbolise spindly spider legs (when Maurice attacks at the climax, he puts his fingers into Philip's mouth, providing a further nod to arachnid digits). Another plus is the score by The Radiophonic Workshop, marking the studio's first soundtrack purposely constructed for a feature film. Actually more a sound design for mental anguish, pieces include unreleased material by Delia Derbyshire.

The muted hues of POSSUM mirror the houses and surroundings of the grimmist 1970s Public Information Films. Here, Philip's visit to a school manifests into the "Stranger Danger" aesthetic.

Philip has never recovered from a corrupted innocence, with his monosyllabic speech and movement reminiscent of childlike mannerisms and anxieties. Even the rhyme, "Mother, Father, what’s afoot? Only Possum, black as soot et al," lovingly illustrated in a sketchbook, bridges the simplicity of youth to his adult existence. Harris would remain in character throughout the shoot to the point where Holness felt that he was working with Philip rather than Harris. Both lead actors only interacted with each other while filming scenes together, further enhancing the feeling of separation and tension.