Curry Barker proves that early short film success was no fluke—Obsession, his feature film debut, is one of the freakiest horror films of the decade. From beginning to end, it hooks the viewer in a tense game of foreplay until it explodes in gory mayhem. Perhaps it works so well because the story deals with universal themes of love and fantasy fulfillment. At the core, Barker proves fluent in the genre space, especially in the way he choreographs the scares, while at the same time playing up the human element. Nightmarish visuals, an eerie score reminiscent of Twin Peaks, and outrageous bursts of dark comedy are just a cherry on top. Michael Johnston pours an instantly lovable quality into his portrayal of bashful outsider, Bear; as female lead, Nikki, Inde Navarrette holds her own in a shrieking, ferociously physical performance that paints her as an instant scream queen. The title says it all: meet your newest obsession.
Faux 80s novelty toy, One Wish Willow, has a killer hook. You simply make a wish, then snap the twig of Willow inside the box. It does warn the consumer to wish responsibly, but what’s the worst that could happen? Poor Bear and his friends are about to find out the hard way to be careful what you wish for. Yes, that age-old saying has never felt more apt than it does here. The first act establishes the status quo with ease well before any actual wish takes place. Awkward-but-adorable Bear has a super-crush on his coworker and frequent trivia partner, Nikki. He has no idea how to even approach spilling his feelings, much to the chagrin of his douchey bestie, Ian (Cooper Tomlinson). Their friend Sarah (Megan Lawless), who has aspirations for art school, rounds out their trivia group.
When Nikki loses her crystal necklace, Bear finally sees a chance to win her over. He heads out to buy her a replacement, but instead something quirkier catches his eye: a One Wish Willow, pretty appealing with its eye-catching shape and $6.99 price tag. Unfortunately for both Bear and Nikki, that single decision alters the course of their lives. One ride home later, instead of gifting it to Nikki, Bear makes a spontaneous, spur-of-the-moment wish: for Nikki to love him more than anyone else in the world. The consequences are felt instantly as Nikki hauntingly stares at Bear inside his vehicle from her doorstep.
From this point, Barker’s wildly unpredictable movie constantly evolves as Nikki’s erratic behavior grows increasingly more concerning. A moral dilemma begins to gnaw away at Bear: does the real Nikki actually love him, or was this all a product of the spell? Since he never confessed his feelings before the wish, it’s a total conundrum. Much ado will probably be made of Bear’s intentions, of his careless behavior that essentially strips a woman of her autonomy. But this is a different brand of scary. Nikki isn’t some weak woman now under Bear’s full control that he can command at his every beck and call à la Aunt Gladys in Weapons. The Nikki he has accidentally created is so obsessed with him that she wants to soak up his smell. Live inside him. Never leave him. It’s a sentiment freaky enough to send a chill up the spine, especially for those who have firsthand experience with obsession or stalking.
Barker expertly balances horror and comedy elements through a constant push-pull dynamic. Each time he leans hard in one direction, there’s a quick shift that propels in the opposite. Snappy editing crystallizes the freakier moments, making them stand out as they gradually build. Subtle background details amplify the uneasiness. Like many post-Hereditary horror entries, Obsession understands the power of what lingers just out of focus. Nikki’s increasingly unhinged asides land as blaring warning signs, peppered in even as others hesitate to confront them. The characters get plenty of room to breathe, particularly when it comes to the central relationship between Nikki and Bear.
It probably helps that Michael Johnston and Inde Navarrette have such great chemistry together. Even though it should feel outwardly wrong from the beginning, the two together somehow feels right. Bear was daydreaming about it, and Nikki does seem to show some level of interest before the spell. Both performers navigate demanding emotional terrain. Navarrette embodies the sinister, twisty physicality we have come to expect, coupled with unnerving smiles and screeching horrors. She shifts seamlessly from charming to terrifying with a single look. On the other hand, Johnston starts the movie completely unconfident but sweet, longing for a relationship with the woman he loves and not to manipulate or scheme. At one point, Bear has a screaming emotional breakdown that proves Johnston’s prowess in this role. As a pair, the duo anchor the film all the way to its brutal, unforgettable climax.
Overflowing with surprises and disturbing on multiple levels, Obsession grounds its narrative in relatable dynamics and cringe comedy. If anything, it all feels like an organic evolution for filmmaker Curry Barker. Next up, he has a Texas Chainsaw Massacre reboot—this movie should be the official launching point of a long career in horror. If his take has even a modicum of the humanity or nastiness found within, we are definitely in good hands. Anxiety-inducing and boldly intense from the second the snap of that wish shifts gears, Obsession acts as a potent fable about wishes. It furthermore exposes the uglier truths beneath them, including insecurities and that dangerous desire to be loved at any cost. Fantasy and reality rarely measure up. Even when you wish they would.
Discover your newest Obsession, in theaters everywhere on Friday, May 15th.
