Be careful what you wish for in ‘Obsession,’ an old but effective nightmare retooled for Gen Z

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During the premiere of “Obsession” in Los Angeles, I noticed something funny: the male audience kept jumping at even small, unsettling things the lead actress, Inde Navarrette, did – a tilted head, a strange smile, an odd movement. It struck me that what scares a lot of young men now is a woman who doesn’t control her emotions and acts unpredictably. Ladies, remember that.

Curry Barker, the 26-year-old filmmaker behind the new horror film “Obsession,” skillfully plays on a common fear. This is his second feature film, following his independently released “Milk & Serial.” He first gained experience creating short sketches for YouTube with his frequent collaborator, Cooper Tomlinson, who also appears in “Obsession.”

Clive Barker’s “Obsession” takes a classic idea – a wish for the perfect love – and delivers it with a chilling and unsettling style. The film blends elements of the “monkey’s paw” and “Pygmalion” stories, focusing on a young man who wants his dream woman to fall for him. As with any story about trying to magically influence love, things go horribly wrong, resulting in a dark, violent, and deeply disturbing film.

Bear, played by Michael Johnston, is a bit of a hopeless romantic and one of four friends in their twenties who work at a record store. They spend a lot of time trying to have fun, often by going to trivia nights and drinking. It’s obvious Bear is attracted to Nikki, but Sarah secretly likes him. To make things even more complicated, Bear’s best friend, Ian, seems to intentionally sabotage any chance Bear has with Nikki.

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Bear wanted to tell Nikki how he felt, so he bought her a small gift – a One Wish Willow – from a head shop. The shopkeeper warned him it wasn’t returnable. Unfortunately, their conversation didn’t go well. In a moment of desperation, Bear made the wish on the willow himself, snapping the stick and wishing Nikki would love him above all others.

At first, their connection seems surprisingly sweet and comfortable, despite confusing their friends. But Nikki’s intense neediness quickly becomes suffocating, and their relationship descends into a terrifying story of obsession—turning bitter, toxic, and ultimately violent. As Nikki’s actions become more and more reckless, Bear feels trapped by her jealousy, and tragically believes death is his only escape.

The story is familiar and straightforward, masked by a creepy atmosphere and surprisingly brutal violence. While the plot and characters aren’t particularly deep or well-developed, the film succeeds thanks to its strong direction. Clive Barker expertly controls the film’s style, rhythm, and the actors’ performances. The visuals, captured beautifully by Taylor Clemons, feature slow, deliberate camera movements and pervasive shadows, even in daylight. A haunting score by Rock Burwell adds to the film’s dreamlike and unsettling mood.

What truly makes “Obsession” frightening are the actors’ performances. While Johnston carries the film and provides its emotional center, Navarrette delivers a standout horror performance that is likely to become iconic for a new generation. Her unsettling smile and unpredictable movements create a genuinely creepy presence. Johnston portrays Bear as deeply troubled and consumed by guilt, realizing this terrifying figure is a consequence of his own mistakes. He wanted a girlfriend, and now he has the frighteningly unpredictable Nikki.

One of the most effective choices in the film is when Nikki briefly regains clarity, either waking up or pleading with Bear in her sleep to end her life. These moments remind us that despite her frightening behavior, Nikki didn’t choose this fate. The true villain is Bear, or more broadly, the dangerous idea that young men feel entitled to any woman they desire. Ultimately, “Obsession” feels like a warning, particularly for young men, and judging by the audience reaction, it seems to have resonated with viewers.

Katie Walsh is a Tribune News Service film critic.

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2026-05-15 20:02