It's a first draft. Pacing is something you fix in the second draft, once you are more firm on your story beats and characters.
Just write the story. Readers are perfectly fine head-hopping from character to character. You don't need to switch protagonists at each chapter, or follow some self-imposed structure. Just follow the perspective that feels the most interesting or logical in the moment, and tell the story.
The alternative is to 'plot' your story beats first on a timeline. In this case with so many characters, and a deliberate progression that needs to move steadily and synchronously, an outline (at least) would save some time and frustration.
Character Development: Start
For each character you need a start-state, an ostensibly serine status quo where some (privileged/powerful) characters seem to want nothing..., some have an un-easy status quo where they have 'settled' or made the best of their circumstances..., and at least 1 character who is very dissatisfied in their starting status quo.
(If the 'possession' effects animals, start there as foreshadowing. A work horse goes amok, a dog turns on its owner.)
As the the villagers are effected, the dissatisfied person will be the most eager to change their status quo, having nothing to lose. They may appear to 'level up' quickly (or turn to violence quickly), which other characters are likely to notice but dismiss because the person is relatively unimportant, or already a social outcast.
The characters who have privilege and power will indulge their impulses, but use their influence and status to cover it up. Only a few will witness this behavior, close subordinates who are likely to help provide cover for their superiors, at least at first. This will flip the power dynamics. The elite will now have vulnerabilities, and their subordinates will have leverage.
Finally the characters who have settled in their lives, or exist in an uneasy status quo, will be more sensitive to changes in power dynamics. They will have already decided what is worth fighting for and what is worth accepting, so bringing these things into question will jeopardize whatever compromises they have already made.
The characters who struggle but resist because they are already underdogs who must suppress desires, are good characters for your longer-lasting protagonists.
An outsider who witnesses an elite's indulgence, may assume that was always their behavior, or be shocked by the behavior, either way it may become a justification for their own impulse indulgences.
You could introduce interpersonal conflict (ie: plot) as someone loses faith in someone they have looked up to, meanwhile an opportunist may try to blackmail or otherwise capitalize on what they've learned.... One destabilization triggers another, like a row of dominoes.
What you want is a small community where things seem idyllic at first, but as the threads start to be pulled, bigger and bigger holes start to unravel. The changing dynamic reveals unacknowledged resentment, which triggers reactions, which lead to more conflict. And so on...
When the saintly and salt-of-the-Earth people finally flip, it will be big, like a sweet old lady putting an axe in her husband's head. But before you get there, there will be personal struggles and quiet backstabbing and secret sabotage..., also coping and compensating.
By the 3rd act, the world order is upside-down. Even your self-denying disciplined protagonists will find it hard to hold on to moral values in a world turned to chaos.
There's an indie film called Impulse (1984) which follows a very similar plot in a rural town (the reasons are not supernatural). The protagonist is a prodigal outsider who witnesses increasingly bizarre behavior, but she already has a bias against the town which she left long ago.
The story is framed as a psychological thriller where we're not sure if the town is going crazy (or was always crazy), or if she is overreacting because of past trauma. The reason is eventually explained but since none of the characters understand why, it becomes superfluous next to the immediate danger of the other people.