A controversial aspect of The Possession is its use of Orthodox Jewish ritual as a source of horror and salvation. The film employs Rabbi Wyne as a consultant, lending authenticity to the exorcism scene (which includes the blowing of a shofar , recitation of Psalm 91, and the burning of a white candle). However, the film also participates in a problematic trope: the “ethnic expert” who must rescue the ignorant white Protestant family. Clyde, a non-practicing Christian, must submit to Hasidic authority—a narrative that reinforces the exoticism of Jewish mysticism for mainstream audiences.
This article explores every facet of the film, from the true story that inspired it to the on-set practical effects that still disturb viewers today. The Possession -2012-2012
Perhaps the most significant deviation The Possession makes from the standard formula is its departure from Catholic iconography. For decades, possession films relied on crucifixes, Latin incantations, and the Vatican. The Possession pivots toward Judaism, introducing the concept of the Dibbuk (or Dybbuk). A controversial aspect of The Possession is its
The film subverts gender expectations of possession. Emily’s possession is not sexualized (as in Regan MacNeil in The Exorcist ) but behavioral: she becomes aggressive, secretive, and hostile—stereotypical “adolescent” behaviors that the parents interpret as acting out due to the divorce. This misdiagnosis is the film’s tragedy. The school counselor and the stepmother assume psychological trauma; only the Hasidic exorcist, Tzadok (Tom Atkins in a career-defining role), recognizes the supernatural. Tzadok explains that the dybbuk “is not a demon; it’s a ghost with a grudge.” This line explicitly aligns the entity with emotional baggage: the dybbuk is a grudge that has forgotten its original cause but remembers its right to be angry. Clyde, a non-practicing Christian, must submit to Hasidic
At its narrative core, The Possession distinguishes itself immediately by grounding its horror in familial dysfunction rather than a singular religious setting. The film introduces us to Clyde (Jeffrey Dean Morgan) and Stephanie Brenek (Kyra Sedgwick), a recently separated couple navigating the difficulties of shared custody. Their two daughters, the teenager Hannah (Madison Davenport) and the younger, shy Emily (Natasha Calis), are caught in the crossfire.
Upon release, The Possession received mixed reviews. Rotten Tomatoes gives it a middling , but its Audience Score is a robust 42% —low for a blockbuster, but high for a niche horror film. Critics like Roger Ebert gave it 2.5 stars, calling it "competent but forgettable."
The story follows a young girl named Em, played by Natasha Calis, who becomes obsessed with an antique wooden box she finds at a yard sale. As her behavior grows increasingly erratic and violent, her divorced parents—played by Jeffrey Dean Morgan and Kyra Sedgwick—realize that the box contains a Dybbuk, a malicious spirit from Jewish mythology. Unlike the demons seen in The Exorcist, this entity doesn't just want a soul; it seeks to consume its host from the inside out.