TIFF 2025: ‘Obsession’ Is A Strong Feature Debut For Curry Barker

Obsession reinforces how the adage “be careful what you wish for” is the gift that keeps on giving in horror. Some wishes shouldn’t be granted, as many have hidden or unrealized consequences. Writer/director Curry Barker throws a man, who makes a wish that is very much a bad idea, into extraordinarily horrifying circumstances. As a feature debut, Obsession showcases the full extent of Barker’s skills as he crafts a lean, darkly comedic, and messed-up film that will spark numerous discussions.

At the center of Obsession is Bear (Michael Johnston), who has been crushing on Nikki (Inde Navarrette) for as long as he can remember. Awkward and vulnerable, he works hard to muster up the courage to share his feelings with her, but constantly chickens out. After the sudden death of his cat (trigger warning for animal lovers) and the news that Nikki is leaving for better opportunities, it’s a make-or-break moment for Bear to finally take a chance. Unfortunately, because no one likes actually communicating, he makes a wish instead.

There is no slow fade away from normalcy in Obsession once the wish kicks in. Dialogue and direction choices made by Barker remove any semblance of the ordinary. Scenic framing, deliberate usage of shadow, and Navarrette’s body language and tone in delivery immediately raise hairs, and Bear is rightfully a little concerned by the pivot. But, like any wish, the gratification is too hard to pass up, and the honeymoon period that follows in montage form is almost sweet. Almost.

Inde Navarrette is disarmingly terrifying in Obsession.

Simmering underneath the sweetness is a dissonant tone, meticulously plucked to pick away at the facade of normality. Once the facade crumbles, Barker dials the tension up, and Navarrette is more than game to play around with levels to deliver the most disarmingly creepy obsessive girlfriend. Like a cat playing with a toy, Navarrette’s Nikki constantly tests the boundaries of those around her, relishing in the discomfort she causes. There’s almost a pixie-like quality to Navarrette’s delivery at times, creating an air of mischievousness.

This creates a disarming effect, one that puts not only Bear but the audience on their toes. It’s effective, even if at times the more childish whining and shrieking wears thin. As things intensify, it soon becomes a waiting game to see when and what will inevitably make Bear crack. Barker’s grounded approach to the hinted supernatural elements helps prolong Bear’s denial, even when the red flags are practically smacking him across the face.

As Bear, Michael Johnston infuses the character with an awkwardness and vulnerability that undercuts and even masks the character’s more dubious intentions. Bear rides a fine line, dabbling in the grey areas of morality when it comes to his actions after his wish is made. To Barker’s credit, there’s no particular steering of direction as to which way the audience should lean here. The truth here is uncomfortable, and the conversations that will be sparked will be plenty. 

Smart framing and keenly timed edit choices maximize the slow-burning tension.

Building on the foundation of the actor’s performances, cinematographer Taylor Clemens’ lens and Barker’s direction make great use of each set space. Close-up shots of Navarrette’s wide-eyed, manic expressions heighten the growing sense of unease, while the deployment of shadows allows the mind to imagine what is lurking within. Editing choices throughout amplify the pacing, while good use of timing allows for the more comedic elements to settle in for the ride.  

Even still, Obsession is not without its little bumps. Occasional prolonged pauses go on too long, moving the dial from awkward to unnecessary. The good old Internet search trope rears its head, and while it is an unlikely trope to die (it may actually persist after AI destroys the search engine model completely), sometimes you don’t need to show someone pulling up a browser. At face value, though, these are nitpicks, which shows how tight Obsession is.

There’s a thin line that separates horror and comedy, with both ultimately seeking to elicit the ultimate reaction from the intended audience. Curry Barker straddles this line in Obsession, using awkward moments to mask underlying dark intentions that only escalate. As a feature debut, Obsession shows Barker knows exactly how to make his audience squirm, and delivers hope for a promising future in horror.

Obsession had its world premiere at the Toronto International Film Festival.