Obsession

Obsession [2025]

Film

I'm not sure what it is lately, but the comedy-to-horror pipeline is working wonders. Jordan Peele's writing and directing debut with Get Out in 2017, after years of sketch comedy with Keegan-Michael Key on Key and Peele, was a ground-breaking and stunning achievement in horror. More recently, Zach Cregger's debut with Barbarian and subsequent follow-up Weapons from last year were both tremendous successes. The latter even showcasing an Oscar winning performance from Amy Madigan. Pretty wild stuff from one of the founding members of the sketch comedy group Whitest Kids U' Know. Now, we've got Curry Barker who started his career in a sketch comedy channel with his friend Cooper Tomlinson, "That's a Bad Idea." Barker didn't exactly jump into the deep end like his predecessors; he cut his teeth writing and directing a handful of short horror films that received a number of accolades. Eventually leading to his feature debut Milk & Serial. So while Obsession, Barker's latest feature, isn't his "feature film debut" it feels like his true emergence onto the horror scene, establishing himself as a horror auteur just like Peele and Cregger before him.

That's because, well, Obsession is unlike anything I've seen this year, maybe even in recent memory. It's meticulously constructed with a sensational mixture of comedy and horror, and somehow Barker manages to hit both ends of the spectrum perfectly. Obsession possesses a unique quality to give you stomach cramps from laughing so hard, but also put said stomach in your throat with its disquieting crescendo of terror.

Barker's film primarily works in thanks to his perfect vehicle for moral dilemmas. Bear (Michael Johnston) is a bit of a sap, you see. An overly romantic young man that spends his days in awe of his crush Nikki (Inde Navarrette) while maintaining his reserved and quiet demeanor. He couldn't be more in love with someone whom he's not sure shares the same sentiment, but they spend plenty of time together going to weekly trivia with their friend group consisting of Ian (Cooper Tomlinson) and Sarah (Megan Lawless). Bear is pretty much the loser of the group, he lacks confidence and extracts empathy with every sheepish glance he makes. You can't help but want good things to come to this guy. Except when his failed attempt to flirt results in him using a novelty toy, a One Wish Willow, to wish that Nikki loved him more than anyone in the entire world. Needless to say, the wish works, and Nikki is obsessed with Bear.

The magic of Obsession isn't just in its premise, an idea of a "wish gone wrong" sort of monkey's paw situation. It's a clever bit of filmmaking magic and writing finesse that Barker employs to rousing results. Johnston and Navarrette's chemistry is pitch perfect for one. They never really feel like lovers, emphasizing the unease from Bear essentially forcing Nikki into a supernatural bond against her wish. It's a strange and outrageously uncomfortable underlying message of consent in relationships that gives Obsession a real aesthetic of, well, the ick. Barker even doubles down on not hand-holding us through the ins-and-outs of Bear and Nikki's relationship or the weird shit that happens with Nikki's "affliction." There's no exposition dump, there's actually little to no explanation about the One Wish Willow. The only real information we get is a hilarious customer service call Bear has with a number on the back of the toy box that quickly shifts into a seriously sinister moment. Brief, throwaway comments, provide just enough clarity to paint the darkest of dark pictures for what Nikki is going through, and subsequently Bear's culpability.

Obsession [2025]

The mystique of Obsession and a terrifically paced screenplay, filled with whip-quick jumps from humor to horror provide a slow and dare I say elegant boil of anxiety. A calculated escalation of tension gives each passing minute a weight as if you were being squeezed by the increasing grip of chaotic panic. Taylor Clemons' cinematography mixes the light and shadows to create an exceedingly dark atmosphere without obscuring the terror from view. Instead, as Nikki lurks in the darkness, her face is blocked enough to give an almost uncanny valley effect that is as confusing as it is terrifying. Is my mind playing tricks on me or is her face morphing between something inhuman? All of the paranoid lighting tricks, tension building, and demented behavior of Nikki and Bear culminates in an explosive and mind-shattering third act that saw my hands cover my mouth and eyes at varying times. It's a work of horrifying art that left me breathless after an exhausted "what the fuck."

Which brings me to the crème de la crème of Barker's horrifying opus. Navarrette's ascendant performance is among some of the best scream queen displays I've ever seen. On par with towering horror performances like Toni Collette in Hereditary or Florence Pugh in Midsommar, Navarrette's subtleties are provocative and emotionally off putting while her more boisterous moments are just downright terrifying. She's able to flip between being the kind-hearted, friendly gal in the group to a contorted, maybe even tortured, version of herself. While Barker may be at the forefront of the film's success, following in the footsteps of Cregger (who is rebooting Resident Evil) by also landing a reboot of Texas Chainsaw Massacre, Obsession doesn't have the same effect without Navarrette's full range being on display and used to stellar results.

It's not that often that I have such an intense feeling of FOMO, but after seeing Obsession in a mildly populated theater I couldn't help but feel it for the world premiere at TIFF. A midnight screening at the festival in a jam-packed theater? With this movie? Yeah, that's cinematic nirvana right there, and I'm heartbroken I missed it. Nevertheless, Barker has made a real treat here. Obsession is a disquieting symphony that steadily crescendos into a trumpeting blast of twisted horror.

Froth

It only makes sense to have a brew from one of my favorite breweries in Seattle with one of my favorite movies of the year. It also makes sense that the beer of choice is one of the best ones I've had this year too. Spiritual Technology from Fast Fashion is a Double Dry Hopped Hazy IPA, a true thing of beauty from the first pour to the final sip. It's light yellow color pairs well with its thick hazy appearance, which makes its creamy head that much more pronounced. Its foamy top isn't the only thing that's creamy though as the whole beer has a full mouthfeel, giving a silky smooth creamy drinking experience. Citra and Strata hops work in harmony to bring a sensational citrus flavor forward, giving strong tastes of grapefruit, orange, and a touch of strawberry to really brighten it all up. There's a slight dankness that lingers in the aroma and finish but its a welcome bit of depth, making this brew yet another incredible drink from the wonderful people at Fast Fashion!