Obsession (2026) | Film Review

There’s very little more to say about Curry Barker’s feature directorial debut, Obsession (2026) that hasn’t already made its rounds via TikTok, Instagram, your mum’s toaster, or Youtube Shorts. But, as ‘The Man Who Hates Everything’, we thought it best I have the opportunity to write about something I actually enjoyed for a change.

In the basic most of outlines and for those living off-the-grid, Obsession follows Bear (Michael Johnston), a somewhat awkward, rudderless, recently bereaved cat-dad that makes the undeniably selfish* decision to wish for his friend’s - Nikki (Inde Navarette) - unrelenting love and devotion. 

*Remember kids, Aladdin understood why the Genie couldn’t wish for someone to fall in love with him - Jafar, did not.

Obsession by Sahin Düzgün

Although he doesn't believe it to be real (the only defence I'll give the self-serving bottom feeder) Bear uses a One Wish Willow (original creation by Curry Barker) - inspired by the monkey paw in the season 3 episode, Treehouse of Horror II (Reardon, 1991) from The Simpsons (1989-Present) - wishing for Nikki to love him more than anything else in the world. As a result, Nikki begins to gradually increase in intensity, leading to dramatic and damaging consequences for them and their friendship group.

Albeit, not the most original idea, as several films and TV Shows have explored the concept of wishing for someone to 1) fall in-love with the wisher, or 2) a character to become something they’re not. The episode 16 episode of Season 2 of Buffy the Vampire Slayer (1997-2003), Bewitched, Bothered and Bewildered (Contner, 1998), comes to mind, as Xander’s spell causes all female characters to fall in love with him, leading to comical and dangerous actions.

Obsession, however, removes the focal comical antics of a 20-40 minute quirky episode of a character’s ignorance and lack of consequence, into a 1 hour, 48 minute rollercoaster of anxiety, discomfort and dread. Barker’s film manages to balance a mixture of comical beats, with dramatic escalations, creating a bleak mash-up of bipolar moments. 

Akin to the moment in Spielberg’s Jaws (1975), when Brody (Schneider) retorts, “come down and chum some of this shit”, followed by the first visual appearance of Bruce the shark’s head. The moment’s intention was to catch the audience off-guard - make them laugh before making them scream. Barker uses comedic moments - through genuine jokes, as well as overly dramatic facial expressions and reactions - to ground the viewer, before delivering a refreshingly timed stinger, or uncomfortable eerie segment.

Lighting and cinematography play a vital part in delivering these moments. Dark shadows, silhouettes and wonderful use of catchlight (light reflected in subject’s eyes) continue to build tension and unease the deeper Bear’s wish grips at Nikki. A wonderful example showcased within the advertisements and trailers for the film, being Nikki framed in doorways (nice little box-framing going on there), or in the corner of the bedroom whilst weeping.

Obsession (2026) | Film Review

Of course, Nikki’s transformation from an autonomous human being, to that of someone imbued by the control from the branch of a Willow Tree came to life through Navarette’s performance. Traversing the emotional spectrum, Navarette manages to deliver a unnatural presentation of someone battling for identity against an intense, oppressive and all-consuming veneer of Wish-Nikki.

I have seen many responses to the acting; calling it cringe, over-the-top and outright bad - to that I say - don’t let the door hit you on the way out muthatrucka. The contrasting, over-the-top performance to a deteriorating Bear - coming to terms with the gravity of his transgression - as well as the concerned observing members of their friendship is the proverbial cherry on top. 

Side note: it was also great to see Cooper Tomlinson (Ian) continuing the collaboration with Barker, even though his character is also a bit of a dick.

Sound design also plays a key part in enveloping that uncomfortable feeling as the spiral into madness progressively hastens. Using overwhelming monotones and building sounds to enhance a claustrophobic, oppressive feel really got the part of my brain that simulates happiness, tingling. Subtle sound queues and inserts, such as the differing jingle the One Wish Willow emits upon first using it, compared to when a wisher attempts to make another wish were just…

Above: Actual picture of Mike, every couple of minutes during the screening.

Although I’m gradually becoming irritated - that’s a given, considering who I am - by the over saturation of content on social media. Endless reels and vlogs of people droning on and on about the film (just like I am, right now) and throwing theories at the wall like spaghetti, I can honestly say, I thoroughly enjoyed my two cinema viewings of this film. The audience were great on both occasions, naturally reacting at the right moments, locked in on the film at all times.

Without spoiling anything outside of the advertising material, I believe the film does a great job at representing the loss of female autonomy to the selfish gratification of a man. Certain moments can be uncomfortable to watch when remembering Nikki - as a fully formed individual - is still locked away inside of Wish-Nikki.

I’m excited to see the next venture to Barker’s portfolio, as well as everyone involved in this production, and hope to see their careers continue on an upward trajectory. Although there are those that didn’t enjoy the film - that’s cool, but considering the metrics - Obsession was made for approximately 1 million dollars and grossed upward of 150 million, in just over 3 weeks (accurate as of writing this review). I think we can agree they’ve successfully made something special.

Now, excuse me whilst I break open my One Wish Willow and wish to never work ever again (I can’t see that going wrong in any way).

Curry Barker's Obsession is out now, trailer below.

https://www.youtube.com/watch?v=gMC8kkwbIQQ