Directed by: Curry Barker
Written by: Curry Barker
Run Time: 1 hour 49 minutes

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A strong feature debut, especially in horror, can be one of the most effective ways for a director to make a name for themselves in the film industry today. Robert Eggers, Jordan Peele and Ari Aster achieved this with their respective breakout horrors, The Witch (2015), Get Out (2017) and Hereditary (2018), and all have gone on to become acclaimed auteurs. Yet, without a distributor for his debut film, Milk & Serial (2024), writer-director Curry Barker remains a relatively unknown name — until now. As unlike his first feature, which he eventually released on YouTube for free, his new horror, Obsession, arrives with the backing of both Focus Features and Universal Pictures.

Barker’s film follows a music store employee, Bear (Michael Johnston), who is trying to work up the courage to tell his childhood friend and co-worker, Nikki (Inde Navarrette), that he has feelings for her. But after a few failed attempts to break out of the friendzone, he flippantly uses a novelty toy, a “One Wish Willow” — supposedly capable of granting its user a single wish — to ask that she love him more than anyone in the world. Suddenly, Nikki begins to display affection towards Bear and the pair start dating. However, when Nikki’s behaviour becomes intensely possessive and increasingly disturbing towards him, Bear quickly realises that he should have been more careful what he wished for.

If you had no prior knowledge regarding the film’s concept or the genre that it occupies you could be forgiven for thinking Obsession was going to be more of a relationship drama. That’s what the opening moments — a sequence that could be lifted straight out of any quirky indie romance — certainly alludes to, establishing important character dynamics rather than attempting to shoehorn in its first scare. It’s an unexpected way to begin a horror but one that serves as an immediate and welcome indicator of Barker’s confidence in his script and, refreshingly, his refusal to abide by the conventions of the genre.

Instead, he takes his time, allowing his charismatic cast and rhythmic editing to guide his audience to the ominously approaching horror — each of which affords the first act ample substance before Obsession turns really nasty. This not only demonstrates his skill as a genre director, but as a filmmaker who understands pacing, mood and the importance of building narrative tension. His more grounded, gradual approach to telling his story is also a great example of lulling an audience into a false sense of security, as when his first big scare does arrive, it’s both genuinely shocking and profusely effective — with plenty more to come.

It’s here where Obsession really earns its namesake, as Nikki, now under the supernatural control of Bear’s wish, starts to exhibit especially unnerving behaviour, extreme enough to put anyone off dating for good. Barker’s earlier due diligence in character and story work may have caused some to mistake his ability to provide any genuine horror thrills, but how foolish an idea, as he gives this hellish concept a profound terror that will see audiences wince and cower with real fear. His superb use of lighting (or lack of it) is instrumental in this, implementing an uncanny valley angle to his nighttime sequences. He plays on many pre-established fears, but intensifies them to unbearable levels.

It’s a multifaceted horror too, balancing long drawn-out stretches of overwhelming tension with sudden bursts of violence severe enough to stun audiences into uncomfortable silence. Yet, Barker underpins it all with a twisted sense of humour. A tricky tone to maintain but commendably managed, especially considering his dark comedy never comes at the expense of the thematically rich relationship story being told throughout. On the surface it’s a devilish look at the dangers of co-dependency, but Barker goes much deeper, using his premise to explore the more sinister horror at its core: a woman stripped of her autonomy and trapped in her abuser’s sick fantasy.

Barker constructs it all so cruelly too, with his cast ensuring that his screenplay retains the sharp sting in its tail. At first, Michael Johnston disarms audiences with his charming portrayal of Bear, an insecure, awkward “nice guy” who just can’t catch a break. As Obsession unfolds, however, his seemingly innocent intentions develop a more insidious edge, taking Bear’s actions from somewhat endearing to completely unforgivable. Johnston expertly captures this progression, delivering one of the two breakthrough performances of the film.

The other, of course, belongs to Inde Navarrette. Her work as Nikki is as terrifying as it is heartbreaking. Responsible for the majority of the horror, her acting is crucial to Obsession‘s success and, thankfully, she excels. Her shrewd timing, versatile physicality and guttural screams make every encounter with Nikki feel truly nightmarish, piercing through the film’s suspense with such force you can’t help but be left shaken. It too is such a star-making turn, if there was only one element of the film that could be obsessed over, this would surely be it.

Rest assured though, Barker’s film — a hellbent horror that will have your heart in your mouth — is as strong overall as its tremendous leads are alone. No wishful thinking needed, Obsession is about as accomplished as they come.

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Star Rating: ★ ★ ★ ★

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