Why Everyone is Obsessed With Obsession
By Elliot Levin ‘28
Obsession, the indie horror film that took the internet by storm this summer, has cemented itself as one of the decade’s best non-commercial blockbusters. With rumours already spreading about a potential sequel and the film’s featuring at Universal Studios’ Halloween Horror Nights, Obsession has shocked moviegoers with its overwhelming acclaim. Produced with only $750,000, the film has grossed 514 million dollars in almost four months. It was filmed in roughly 20 days,without any Hollywood stars, and directed by 26-year-old Youtube Comedy Creator Curry Barker. The booming success of this underdog film suggests that Gen-Z audiences do not always want A-list actors, recognizable franchises, or expensive effects; rather, they want something that speaks to them. Obsession hits the nail on the head by combining stereotypical horror elements with real-life modern relationship anxiety. The movie taps into fears about dating, rejection, loneliness, and the ambiguity of not knowing someone else’s feelings. These themes are almost scarier than the gore, monsters, and supernatural elements that movies have often relied on to inspire fear in young people.
The true tragedy of the movie is that the male protagonist, Bear, wants to eliminate the uncertainty of whether the female protagonist, Nikki, actually loves him, a relatable feeling taken to an extreme. The implication that just by wanting to feel loved and using the seemingly fake and harmless “One Wish Willow” to get Nikki obsessed with him, Bear’s selfishness causes unimaginable harm is the core message of the film in Barker’s eyes. In Obsession, wishes are inherently selfish, especially when attempting to manipulate someone’s feelings. Bear initially comes off to the audience as awkward and harmless, playing the classic “nice guy” role, and it becomes easy to feel bad for him, but his behavior gradually becomes more controlling. This raises the question for audiences whether their own romantic relationships are healthy by exaggerating recognizable behavior in young love, such as toxicity, manipulation, attachment, jealousy, and more. Barker isn’t saying that Bear is a bad person, but that he can’t face potential rejection; he uses the One Wish Willow to take the choice away from Nikki. This turns love into something Bear thinks he can obtain, not something freely given. In doing this via horror, Barker examines themes such as male entitlement, control, and unhealthy attachment.
As expected, not everybody received his message. At face value, the evil, monstrous Nikki is preying on poor, innocent Bear; but in truth, the blame does not fall on Nikki, the one taken advantage of. A key part of the Gen-Z connection to the film is the fact that it caught fire online. Many scenes suit short-form content well, and the online attention served as word-of-mouth without a large promotional budget. In Barker’s direction, making Bear a passive antagonist rather than a traditional horror hero who defeats the threat forces audiences to sit with his responsibility and slowly realize that Bear created the problem himself. We aren’t simply watching a helpless protagonist survive a monster; we’re seeing Bear face the consequences of the choice he made.
I highly recommend this movie to anyone who has not seen it. I find it perfect for a mature young adult who wants a good scare but also enjoys digging for deeper meanings in fantastical plots. If you enjoy psychological horror rather than monster/slasher movies, this is a must-watch. Be aware of sensitive themes, including relationship abuse, loss of autonomy, and stalking, but if you’re inspired to watch all of the biggest, viral movies of the year, this one can’t be missed. This movie makes for the perfect at-home movie night with friends, and its reception is not unwarranted.
Ultimately, Obsession isn’t just a small, unprecedented story. It shows how important an internet-driven rise can be for the lifespan of new releases whose themes interest young audiences. It hopes to inspire budding young directors with fresh visions who wish to make their art a reality outside the Hollywood bubble.