Many filmmakers and storytellers have adapted the classic tale of a wish gone wrong, but few have achieved anywhere near the level of psychological depth as Curry Barker in his new horror flick “Obsession,” which originally premiered at the Toronto International Film Festival in Sept. 2025, but was released widespread in theaters on May 15.
With strong performances of morally gray characters and a buildup of emotional tension, the film masterfully tackles a simple premise with heavier themes of consent and coercion. It pulled off an impressive feat of record-breaking success despite its microbudget.
“Obsession” grossed $17.2 million domestically in its opening weekend, multiplying its budget of $750,000. This marks the cheapest movie to top the U.S. box office since “Paranormal Activity” in 2009. “Obsession” is also Barker’s debut studio-backed feature film, and its success has put him on the map as one to watch.
Barker, an Alabama native, said his inspiration for the film originally stemmed from an episode of “The Simpsons” with a similar theme.
“Bart gets a monkey paw and causes a bunch of chaos,” Barker told Variety. “We’ve seen ‘Be careful what you wish for’ tons of times. But we’ve never seen my version of it. I instantly started thinking about what I could do with that.”
The film follows Michael Johnston as Bear, a music store employee who secretly has feelings for his coworker and friend Nikki, played by Inde Navarrette. He uses a supernatural novelty toy called a “One Wish Willow” to wish that Nikki would love him more than anyone in the world, but it backfires when Nikki’s forced devotion leads to terrifying and deadly behavior.
Bear is the protagonist, and it’s easy to assume that he is the victim. However, critics argue that Nikki suffered the consequences of Bear’s wish. His love-binding wish strips Nikki of her free will, transforming her into another version of herself who is fully dependent on Bear.
Perhaps the most terrifying aspect of the film is the realization that while Nikki physically shows an intense obsession for Bear, she never truly loved him. This idea of the irreversible danger of removing someone’s autonomy is the true horror that the film skillfully cautions against.
Viewers praise Navarrette’s standout performance for seamlessly alternating between one that is both terrifying and almost infantile. Her actions throughout the film become progressively ludicrous, appalling and even fatal, but one cannot help but sympathize with her. Navarrette humanizes her character so viewers can understand she is a real person who got taken advantage of. Her on-screen presence is disturbing, and even when off-screen, the audience is left anticipating where she might appear next.
While the story is well-paced and has a satisfying slow-burn feel, the ending feels almost too expected. Horror films often surprise the audience with a shocking twist at the end of the film; however, the narrative seems quite easy to piece together in the third act, despite its harrowing and spectacularly gruesome visuals. The ending’s powerful punch compensates for its predictability.
Long after the final dreadful moments, the film’s themes about desire and control linger. With “Obsession,” Barker proves that effective horror can be remarkably executed without a lofty budget, and studios and fans alike are already anticipating his next moves. Only time will tell if he will be able to top this act, or if that feat is too much to wish for.
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