Spirit possession narratives and practices elude any singular, definitive framework. Nevertheless, possession movements have been understood as a form of resistance, involving mimetic discourses and practices that seem to parody power structures and norms. In this paper, I complicate readings of resistance through an analysis of a Hauka possession ceremony in Jean Rouch's documentary film Les Maitres Fous, showing how this interpretive paradigm relies on a particular, provincial conception of the self. Hauka possession movements, in contrast to narratives on individual efforts at resisting power norms, involve relationships of dependence and communal membership. Importantly, this reading of dependence does not exclude expressions of individual autonomy. The individual comes to understand, negotiate, and appropriate these relationships in changing, indeterminate ways. With this in mind, I argue that Hauka possession rituals put the individual in a between space of ambiguity, involving movement within established norms and standards of practice. As such, I advocate for an approach to the study of possession that reflects the indeterminacies and uncertainties of the practices themselves.