Obsession (Curry Barker, 2025/2026)
The Hollywood film industry is experiencing a decline in relevance, a trend that has become more pronounced this summer. Film production has become a large-scale corporate endeavour where hundreds of millions of dollars are invested in formulaic and rehashed blockbusters rather than creative properties with a more modest budget. Expectations for grossly expensive tentpole films are often deemed as commercial failures whenever they fail to surpass the billion-dollar box office threshold. This has become an unrealistic expectation for an entertainment industry struggling to maintain the interests of the public. Hence, Blumhouse Productions, a film company with a history in low-budget horror, will always survive Hollywood’s downhill decline, like a cockroach after the nuclear holocaust. All it takes is one of its films to make it big to keep funding a multitude of other potential winners. Its latest co-production, is a monumental success story. At the time of writing, it has earned over 400 times its budget at the box office, and is one of the most profitable films ever made.
Curry Barker’s Obsession (2025/2026) is a variation of W.W. Jacobs’s 1902 horror tale The Monkey’s Paw. It applies the concept to a twisted love story. Barker’s slick writing and direction, along with strong performances from its unknown cast (notably, Inde Navarrette in her breakout role) make Obsession one of the year’s most significant film releases. Notably Barker was a 26-year-old YouTube comedy film maker and Navarette a younger Twitch streamer when they made the film. This demonstrates non-traditional paths to success in the film industry for Gen Z.
Baron ‘Bear’ Bailey (Michael Johnson), a shy and amiable individual, has romantic feelings for his friend and colleague Nikki Freeman (Navarrette). However, he is too timid to express his true feelings for her, which causes considerable frustration for their two fellow friends Ian (Cooper Tomlinson) and Sarah (Megan Lawless), who also work at the music store with them. The film emphasises the extent of Bear’s shyness with a painful rehearsal of his feelings at the very start of the film. Adding to the situation is the accidental death of Bear’s cat Sandy, on the very day he planned to confess his true love for Nikki.
At a new age crystal shop, Bear purchases a One Wish Willow toy as a last-minute substitute for the tiger’s eye pendant Nikki had recently lost. After the group departs from a pub quiz, Bear takes Nikki home. His nervousness in revealing his love for her results in an awkward sequence during which he even calls her “Freaky Nikki”, a nickname she despises. Nikki confronts Bear with the opportunity he wanted and asks whether he fancies her. Like a coward, he tells her that he sees her only as a good friend. With the opportunity lost and Nikki in her home, Bear holds the One Wish Willow and frustratingly wishes for Nikki Freeman to love him "more than anyone in the fucking world". Within an instant, Nikki returns to Bear’s car and behaves strangely; she even requests to spend the night at his home.
Bear’s wish has tragic consequences for all four featured characters. The most evident is Nikki’s total character transformation. The moments where Nikki eerily converses in the dark, along with her physical movements are intensely creepy. Navarrette’s performance is outstanding and should make her a star. The talented young actress conveys a range of emotions that effectively emphasises Nikki’s loss of autonomy; as if she is possessed. This may be the case as the real Nikki briefly resurfaces while her possessor is sleeping.
Nikki: Kill me, please!
Bear: What?
Nikki: She's sleeping. It's me.
Bear: You are you, Nikki.
Nikki: Ssh! Please, don't wake her up. Just... kill me!
Bear: What would be so bad? What's so bad about being with me?
Nikki: I've never been with you, Bear... Just kill me, please! Please, please, please, please!
This scene reveals that beneath his affable exterior, Bear is the film’s real antagonist. His primary concern is being in a relationship with Nikki; regardless of her own personal welfare, or the abnormal affect of her actions and behaviour brought about her compete devotion to him. Therefore, the film demonstrates that his feelings for her are based on an idealistic vision of Nikki rather than actual Nikki. This explains why the cowardly abuser is willing to continue the
façade of a loving relationship with Nikki while she serves Sandy the cat in Bear’s packed lunch; duct tapes his front door to make him stay home with her; and mutilates herself during a game of jenga. Bear’s cowardice is a constant throughout the course of the film.
Despite the familiar premise, Barker has crafted a film blessed that's an addictive viewing experience with morally ambiguous characters. They are more complex than the typical protagonists found in mainstream horror films. Bear may be a cowardly scumbag, but his initial plight makes him appear sympathetic. Similarly, Nikki is portrayed as a seemingly innocent individual. However, she’s later revealed to have been manipulative to Bear, prior to his wish. That doesn't excuse the hell of what she's put through, however. These character layers makes them far more three dimensional, in my opinion.
Obsession has resonated with a broad audience of filmgoers; both young and old. This is likely due to its ability to transform a narrative about love and obsession into a terrifying horror story. A concept that many might relate to. Consequently, Obsession is comparable to an old fable whose moral message is still relevant centuries on. A remarkable achievement from such a young cast and crew.
Loved it to death.
