By Leah Pollard, Third Year, Sociology and Politics
No wonder everyone is obsessed with Obsession (2026). Curry Barker’s chilling horror-comedy sets new records, making 330 times its total budget so far. Filming lasted a mere 20 days and cost $750,000, a fraction of its current earnings of $224 million. Since having surpassed box office projections set just weeks ago, Barker’s film may continue to exceed expectations further.
Likened, by Bristol students, to Jordan Peele’s Get Out (2017) Obsession follows anti-hero Bear (Michael Johnston), an insidious soft boy determined to win the affection of his childhood best friend. The story unravels as Bear snaps a One Wish Willow, cursing Nikki (Inde Navarrette) to become obsessed with him despite their existing sibling-like relationship. ‘Magic always comes with a price’ comes to mind as Nikki loses herself to the monster that Bear conjures within her.
The Get Out comparison arose due to the idea of dual consciousness, as Nikki sporadically ‘wakes up’ from her curse in moments where she begs Bear to kill her, attempts to kill herself and recoils as they kiss. These chilling moments increasingly frame Bear as predatory, most poignantly when he refuses to kill (and free) Nikki despite her pleas. In this moment, Johnston captures Bear’s destructive self-pity so compellingly as he asks, ‘what’s so bad about being with me?’.
The film takes a unique feminist perspective that frames male persistence despite rejection as a site of misogyny and (sexual) violence. This narrative is one that haunts you days after watching the film, as Bear embodies a familiar and seemingly benign archetype that we have all encountered, not least at university.
Spliced between the genuinely terrifying scenes, snippets of comedy persist. In the final act, friend and wingman Ian (Cooper Thomlinson) attempts to disprove the magic of the One Wish Willow by wishing for one million dollars.
Thomlinson, otherwise known as the co-creator/star of Barker’s YouTube channel ‘that’s a bad idea’, did not disappoint as the innocent bystander and loveable best friend. The light humour of their Youtube sketches permeate through Barker’s film as the comedic interludes ground Obsession and offer momentary breaks from the unrelenting horror of Nikki’s entrapment.
Inde Navarrette’s award-worthy performance as the erratic and crazed Nikki is one that cements the films position as the best horror-comedy of all time. Navarrette’s facial contortions and vocal flexibility are unparalleled as she darts between a rainbow of emotions, none of which are short of fluorescent.
A bright career awaits Navarrette who so literally interpreted her role as scream queen. The actress dominates the screen with her blood-curdling cries that underscore the otherwise unsettling music.
The combined crescendo of synths and sobs cue audiences to cover their eyes, while its innovative sound design establishes Obsession as Gen Zs Jaws.
Lottie Merchant
To the DVD and TV mad dads who still praise Spielberg’s cautionary tale, give Obsession a go. A fear of sharks is a far more favourable fate than that of Bears and men alike.
Featured Image: IMDb | Illustration by Epigram / Sophia Izwan
Have you been obsessed with Obsession?
