With tense performances, unsettling dialogue and sharp cinematography, “Obsession” transforms a simple premise into a gripping film worthy of its title.
“Obsession”, written and directed by YouTuber-turned-filmmaker Curry Barker, explores a familiar trope: the wish for undying love. Barker, however, expands the concept into an expertly woven commentary on autonomy and relationships, grounding its horror not in its gore, but in its exploration of control.
However, “Obsession” does not simply benefit from Barker’s vision. Its most captivating element may be its acting, with Michael Johnston’s Bear, named after the viral internet thought experiment of choosing between a man and a bear, and Inde Navarrette’s Nikki reinforcing the horror of losing control.
With a budget of less than $1 million, “Obsession” avoids the excess that could have turned its premise into a mixed bag of horror tropes, instead relying on an earnest exploration of its concept. While many modern horror blockbusters pour millions into CGI demons and ghosts, “Obsession” is constrained by its small budget to use sparing practical effects to unsettle the audience.
The film begins with Bear practicing an embarrassing monologue he plans on delivering to his then-friend Nikki, introducing audiences immediately to Bear’s infatuation and awkwardness.
Bear wanders into a novelty shop where he purchases a novelty trinket called a One Wish Willow after Nikki tells him that she lost her crystal necklace. Bear sees an opportunity to impress Nikki with a gift, but ironically purchases her an item he found interesting rather than the one she lost.
The One Wish Willow, a novelty that grants one irreversible wish, acts as a catalyst for the film’s plot. When Bear purchases the item, he has no expectation of its promise being genuine, despite warnings from the cashier, and to this point, his intentions seem genuine.
With the One Wish Willow in tow, and a desire to finally make his feelings known after Nikki revealed she had put in her two weeks at their work, Bear goes out drinking with his friends. When both he and Nikki see the night at its conclusion, despite insistence from their friends to stay out, Bear brings Nikki home.
In the car, Bear, stumbling through his awkwardness for a moment he has likely pictured for months, attempts to make his feelings known but is ultimately unable to do so. Noticing his demeanor, and seemingly vulnerable due to details learned later, Nikki asks Bear directly if he likes her, to which Bear denies.
After Nikki walks away, Bear grovels in his unhappiness of letting the moment slip away, retrieving the One Wish Willow and wishing that, “Nikki Freeman loved [him] more than anybody in the [expletive] world.” Nikki then reappears and asks Bear to come inside, until ultimately going to his place and kissing him before screaming.
This scene reveals several aspects of Bear’s character, but the most evident is his emasculated insecurity, which later spirals into predation. Unable to confess his feelings for Nikki, Bear resorts to wishing for her affection, only finding success in his desire when Nikki is stripped of autonomy.
The two become a couple and, despite their friends’ bewilderment, fall into a cliché romantic montage. At this point, Bear believes Nikki’s infatuation is genuine; however, cracks begin to appear in the facade as it becomes increasingly clear that Nikki is no longer fully in control of her actions.
By the film’s midpoint, the true villain and abuser of the film is made clear, with them continuing to act without remorse. When granted opportunities to acknowledge the harm caused, they instead work to preserve their fantasy.
As the film progresses, increasingly more horrifying, and more typical horror elements are presented, done in a way that works to evoke the insidiousness of the predicament.
The film’s final act ironically turns that same obsession back onto the abuser, after consistently and knowingly violating agency, they ultimately are forced to confront that same loss of control. When presented with an opportunity to reverse the suffering, they once again act to act in self-interest.
“Obsession” reveals itself as a striking commentary on modern male entitlement, with Bear not driven by a desire for genuine love but rather relishing in the perverse fulfillment of a longstanding fantasy. The movie uses horror to visualize a relationship dynamic all too familiar, where insecurity turns affection into obsession and ownership.
The film expertly blends writing and cinematography with compelling and rather unnerving performances by its cast. “Obsession” is ultimately a horrific exploration of a man’s insecurity turned depravity, at the expense of a woman’s autonomy, delivered in possibly the best film of the year.
Andrew Bencivengo is a business management senior.
