Obsession
Inde Navarrette delivers a star-making turn as a most unnatural girlfriend in Curry Barker’s original stab at black comedy and body horror.
Toy story: Micheal Johnston as Baron ‘Bear’ Bailey
Image courtesy of Universal Studios.
by ALIZA OLNER
I have become accustomed to the fact that when there is a lot of buzz about a horror film, the result is invariably disappointing: the usual showdown of cheap jump scares, predictable plot lines and gratuitous gore. However, this is not the case with Obsession. Just the second feature from the 26-year-old Curry Barker, his chilling film is anything but cliché. Jumping straight into the plot from the opening scene, Barker wastes no time in getting to the point. Even so, the pace is never rushed and flows effortlessly throughout. The first few scenes are perfectly crafted as we are introduced to the characters’ true colours and deepest desires, their personalities, hopes, and dreams (or lack thereof).
Baron ‘Bear’ Bailey (Micheal Johnston) is awkwardly confessing his love for his co-worker Nikki to the ears of a patient waitress, as practice for the real thing. Later, after Bear has repeatedly tried and failed to muster up the courage to reveal his feelings, he makes a frustrated wish with a ‘One Wish Willow’, a novelty toy designed to grant one’s wildest dreams: “I wish Nikki Freeman loved me more than anyone in the entire world.” Of course, things immediately spiral out of control.
Thankfully, Obsession avoids the outdated narrative of the ‘obsessed girlfriend’ scenario, instead forcing the audience to think critically as a horrifying moral dilemma arises. And, as Bear and Nikki’s relationship progresses, the horror increases, while Bear refuses to take accountability or even to try to stop what he has caused. And so the audience watches on, with a feeling of helplessness as the pair’s relationship grows dangerously codependent.
Refreshingly, Obsession does not rely on the overused techniques of its genre. Even when there is no visible threat, Curry drags you into a scene creating a sense of genuine unease. Thus, not only does it scare you in the way that any good horror film should, by utilising supernatural elements and gore, but by generating an even more terrifying undertone: themes of consent and the loss of bodily autonomy. It is deeply harrowing and disturbing on many levels, yet also an intelligent commentary on power dynamics, cohesive control, and people’s true intentions.
There’s a standout performance from Inde Navarette as Nikki, who delivers a startling range of emotions, going from sweet and eager-to-please to a terrifying, screaming being, and everything in between – all in a matter of seconds. Curry Barker is now working on two other horror films, Anything But Ghosts, and a reimagined version of The Texas Chain Saw Massacre, and I am excited to see more of his work.
Cast: Inde Navarette, Micheal Johnston, Cooper Tomlinson, Megan Lawless, Andy Richter, Haley Fitzgerald, Darin Toonder, Chloe Breen, Anthony Pavone, Anthony Casabianca.
Dir Curry Barker, Pro James Harris, Haley Nicole Johnson, Christian Mercuri and Roman Viaris, Screenplay Curry Barker, Ph Taylor Clemons, Pro Des Vivian Gray, Ed Curry Barker, Music Rock Burwell, Costumes Blair James, Sound Ben Zarai.
Capstone Pictures/Tea Shop Productions/Blumhouse Productions-Universal Pictures.
108 mins. USA. 2025. UK and US Rel: 15 May 2026. Cert. 18.
