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This article analyses Brandon Cronenberg’s films Possessor (2020) and Antiviral (2012) as examples of transplantation horror, enabling a deeper exploration of the shared onto-epistemological concerns of both horror production and organ transplantation. The two films are preoccupied with anxieties surrounding biomedical technologies and the violation of ‘somatic wholeness’ – the concept of the body as a unified, self-contained entity. A four-part critical grid common to horror and transplantation – transgression, corporeality, movement and openness – is employed to examine popular biomedical representations of transplantation, particularly medical narratives concerning health and disease, control and its loss. In the sections devoted to Possessor and Antiviral, the article focuses on themes of body/self image and visuality, the unsettling consequences of bodily transformations under late capitalism, and the limitations of contemporary horror in addressing deeper concerns about identity and corporeality.