The ‘Obsession’ Obsession – Cherwell

Something unprecedented is happening in the world of cinema this year. In less than a month, a horror film made by a relatively unknown director in his twenties, on a budget of less than $1 million, has grossed over $224 million at the time of writing. It achieved the rare feat of earning more in its second week and third weeks than its first – the first film to do so since E.T. in 1982. It’s the film on everybody’s lips: Obsession.

Without spoiling too much, Obsession follows a music store employee, played by Michael Johnston, who buys a mysterious ‘One-Wish Willow’, which he uses for a seemingly innocuous end: he wants his crush, played by the incredible Inde Navarrette, to love him “more than anyone in the f*cking world”. This wish, however, results in unexpected and horrifying consequences. What follows is an incredibly effective horror film, with plenty of uncomfortable moments and scares – it’s a film I strongly and wholeheartedly recommend everybody reading to see (but maybe not on a first date). 

What makes Obsession so effective is that its supernatural premise is only a slight exaggeration of something that is recognisably human. The wish begins as a familiar romantic fantasy: to be wanted completely, unquestioningly, and above everyone else. Obsession twists this into something claustrophobic, and makes you question the ethics of what is being done. Johnston is especially good at making Bear both sympathetic and uncomfortable: he never plays him as a monster, which makes his choices more disturbing. Navarrette, the breakout star of the film, has the hard task of playing Nikki as charming, frightening, and pitiable all at once, which she does masterfully.

The film was directed by Curry Barker, a 26-year-old known for his sketch comedy on YouTube and TikTok. He made his feature-length directorial debut in Milk and Serial in 2024, an extremely underrated horror film, available to watch for free on YouTube. That it was made with a budget of only $800 is remarkable. Considering Barker’s comedy background and relative lack of experience in the director’s chair, Obsession is a surprisingly well-made horror movie, with great acting, great pacing, great cinematography, and great writing. Most mainstream horror films tend to be lacking in at least one of these departments, but Obsession succeeds at what it sets out to do – it made me uneasy, and it lingered in my head long after I watched it. So many details only made sense to me after the film had finished, and I found myself continually recognising just how clever this film was days after I had watched it. Soon, I found my Instagram Reels had been taken over by Obsession content – interviews, memes, clips, theories – and I completely fell down the rabbit hole.

I don’t seem to be the only one taken over by Obsession obsession. The film’s continual growth in popularity can be largely attributed, it seems, to word of mouth, since there was a very limited amount of promotion done for it. Everyone I’ve spoken to about it has either seen it and loved it, or heard about it and wanted to see it. It didn’t try to get a Super Bowl ad, or a brand tie-in, but instead relied on its quality to gain the interest of potential viewers. This was one of my favourite qualities about it: it is a film which inherently creates discussion, without being designed for virality. This is done through the ambiguity of some of its themes, which have left people on the internet divided. For those about to see it, I have some questions for you to consider: Is Bear a good person? What really happened to the cat? What would you wish for?

Its success also speaks to a wider hunger for original filmmaking. Obsession does not have a pre-sold cinematic universe behind it, nor any big names. It has spread because people want to talk about it. Its premise is clean, but its moral questions are not, and its ending leaves enough unresolved to send viewers back through the film for clues. That is exactly the kind of engagement Hollywood often tries to manufacture through marketing. Here, it has happened organically. 

What I hope Hollywood learns from this unexpected smash hit is to take more risks on young, passionate filmmakers. Audiences have been missing original stories and fresh voices, and Obsession provides both. We do not need another $100-million-budget Star Wars or Avengers spin-off. We do not need another remake, sequel, or nostalgic cash-grab. We need creative risks, and the hope that it is possible for creative young people to break into this industry without needing to use a One-Wish Willow themselves. 

Obsession is a taste of what the next generation of filmmakers looks like. Not only is it a great movie, but it is evidence that it is possible for Hollywood to change.