Film Review - Obsession
Images courtesy of Rialto Distribution.
After almost a decade of making sketch comedy on platforms like YouTube and TikTok, as well as short horror films and the found footage feature Milk and Serial, Curry Barker appears to have hit the jackpot with Obsession, the latest, umm, obsession, for horror fans everywhere. Representing a big step up not only in terms of its theatrical release, but also in Barker’s command of filmmaking as a visual medium, Obsession boldly stakes its claim as a true modern genre masterpiece.
When the meager Bear (Michael Johnston) finds himself unable to admit his longstanding crush to his lifelong best friend Nikki (a career-making turn from relative newcomer Inde Navarrette), he uses the One Wish Willow, a seemingly innocuous children’s toy, to beg for her undying love. As with all wishes, things turn south in this refreshing take on a tried-and-true fable, using the woes of modern dating to explore the tale of an incel monkey’s paw, but what sets Obsession apart from many of its contemporaries is its signature blend of dark humour, bleeding emotion, and genuine terror.
This incredible commitment to the bit from everyone involved results in a movie that transcends its familiar trappings, and any predictability is offset by just how impactful each gut-wrenching beat is when it lands. An awkward date night, the overly clingy couple ruining the vibe of a party, and eventually, the inevitable first body drop, all hit because the sheer intensity of each moment is so enthralling, even if you’re clued in on the overall direction of the narrative. It’s what Barker calls the “modern jumpscare”, forcing an audience to sit in the anxiety of the situation, wanting to look away but transfixed by a blend of secondhand cringe and a want to see how it all plays out.
Without Inde Navarrette’s performance at the core, Obsession could have easily failed, but through a combination of her physicality and intonations - as well as Barker’s assured direction - the film leans hard into the freak of the situation. Everything about the way she moves and speaks is so thoroughly unsettling, selling the tortured soul trapped within a body that no longer belongs to her. Combining this with a (quite literally) lethal face card that seems to shift entirely under each lighting decision, it seems only fair that Navarrette is getting her flowers from critics and audiences alike.
Likewise, Michael Johnston does exceptionally well as Bear, and even if his character isn’t quite as emotionally demanding as Nikki, it’s essential that we feel some level of sympathy for his character, even as he suffers from the consequences of his own actions, or more specifically, inaction. Most people would have known someone like this at one point in their lives, a person who, despite actually having a lot of redeeming qualities, seems incapable of seeing past their own insecurities and as a result, constantly shoots themselves in the foot. Despite what some people have said about the movie in bad faith, Obsession is not merely about how “lonely men are evil”, instead operating as a harrowing cautionary tale of what the consequences might be, if one was to commit to this line of thinking.
By the time the credits roll, Obsession feels less like a conventional horror film and more like a fever dream, operating on an unnerving, heightened register where Barker’s assured direction, razor-sharp tonal shifts, and meticulous lighting turn a familiar “be careful what you wish for” premise into something vividly original. Anchored by Inde Navarrette’s magnetic, grotesque, and heartbreakingly specific performance, the film balances emotional logic with formal daring in a tightly controlled mood piece. Obsession is a bold, unsettling, and often brilliant entry that will be sure to haunt conversations long after you’ve left the theatre.
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Obsession is screening in cinemas now. For tickets and more info, click here.