--- title: "Obsession" year: 2026 kind: "film" canonical: "https://film.one/film/obsession" fi1m_id: "obsession" imdb_id: "tt37287335" tmdb_id: 1339713 wikidata_id: "Q136163067" fi1m_score: 79 critics_score: 81 critics_reviews: 24 published: "2026-09-09" updated: "2026-09-18T08:37:43.358829+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Obsession (2026) Directed by Curry Barker · 1h 49m · MPA R · Horror, Thriller ## Identity Obsession - **Canonical:** https://film.one/film/obsession - **Type:** Film - **Fi1m ID:** obsession - **IMDb ID:** tt37287335 - **TMDB ID:** 1339713 - **Wikidata ID:** Q136163067 - **Same entity:** https://www.imdb.com/title/tt37287335/, https://www.themoviedb.org/movie/1339713, https://www.wikidata.org/wiki/Q136163067 **Fi1m score: 79** · Critics 81 from 24 reviews *In a sentence:* He wished she would never leave him, and she is taking that literally > Curry Barker’s horror about a man who wishes a woman would love him, and gets her, is nasty, funny and properly frightening, and Inde Navarrette is the reason. It is not subtle, and one killing tips into cartoon. Horror fans should go. ## Synopsis Bear (Michael Johnston) is in love with Nikki (Inde Navarrette), and Nikki does not feel the same way. He wants her more than he has ever wanted anything, and one night he wishes for her, and the wish is granted. She wakes up devoted to him. Then she keeps on being devoted, past the point where anyone would want it, and Bear begins to understand what he has asked for. Cooper Tomlinson, Megan Lawless and Andy Richter are among the people around them. Curry Barker writes, directs and edits. It is a horror film with a good deal of blood and a certificate to match, and it runs 109 minutes. ## Review Bear (Michael Johnston) wants Nikki (Inde Navarrette), and Nikki does not want him. Then he makes a wish, and she does. That is the whole of *Obsession*, which Curry Barker wrote, directed and edited, and it is an old story: the monkey’s paw, the granted wish that arrives with its own bill. Barker knows it is old. What he has added is a plain question the genre has mostly avoided: what does a man who wants to be loved actually want, and what would he do if it turned up at the door and would not go home. The film is good, it is frightening, and it is about as subtle as its title. The first act is the courtship, and it is uncomfortable in the right way. Johnston plays Bear as a man who thinks of himself as the nice one, and Barker’s script keeps declining to agree with him. We were on the film’s side from the moment it became clear the film was not going to be on Bear’s. Cooper Tomlinson’s Ian and Megan Lawless’s Sarah are around to notice things he does not, and Andy Richter, as Carter, gets the dry lines and lands them. Then comes the wish, which we will not describe, and Nikki changes. Navarrette is the film. Before the wish she is ordinary, warm, slightly bored. After it she is devoted, and the devotion has no bottom. She does not play possession as growling or contortion. She plays it as attention, the kind that does not blink, and the horror comes from watching a face that used to belong to a person become a face that is only about him. There is a moment, quite early in her new state, where she is simply standing there, already in the doorway before Bear has noticed her, and we jumped, then felt foolish, then realised that feeling foolish was the point. He asked for this. Taylor Clemons shoots the interiors dark, one lamp on and the rest left to guesswork, so that Nikki is found rather than shown. Barker, cutting his own film, holds a shot two beats past comfortable and then cuts hard, and the sound drops to nothing just before a scare rather than swelling into it. It is a trick, and by the third time we could see it coming and jumped anyway. Rock Burwell’s score stays low and out of the way; the silences do the work. The production design keeps the rooms ordinary and lets them stay ordinary, which is right, and Blair James’s costumes barely change on Navarrette across the film. The clothes are the same. The woman is not. The flaws are real and the loudest one is the film’s habit of saying what it means and then saying it again. Barker does not trust an audience to have noticed that Bear is the problem, so he has people tell us. One scene of violence is staged for a laugh; it gets the laugh and then keeps going past the point where the film needs us frightened, and it takes a few minutes to recover. The middle sags too. Bear tries the same solution more than once and the film does not seem to notice it is repeating itself. Set against the possession films it borrows from, this one has no priest, no Latin and no interest in whether there is a God. The devil here is a wish, and the person it has really got hold of is not the woman. Barker’s dialogue is sharp, funny in the awkward way of people who cannot say what they mean, and the comedy never lets Bear off. At 109 minutes the length is right, or would be if the middle were tightened. It is an 18 and earns it; the blood is frank and there is a lot of it. Go if horror is yours, and take someone whose hand you can hold. Then think about why you wanted to. *Fi1m score 79, published 9 September 2026.* ## What the critics say The reviews are unanimous in the film’s favour: all twenty-four are positive, and the praise gathers around two things. The first is Inde Navarrette, whose turn as the possessed Nikki is named in almost every notice as the reason to see it, described as fearless, unsettling and star-making. The second is Curry Barker’s handling of an old premise, the wish for love that goes wrong, which most critics find freshened by dark comedy, well-timed shocks, sparing gore and careful sound design. The spread is narrow, running from solid approval to raves. Where critics hold back, it is on the ideas rather than the craft. Vulture thinks the premise is reduced to genre clichés and says little about desire; RogerEbert.com finds the lack of a female perspective limits the film’s depth; Sight and Sound notes pacing lapses and one cartoonish murder scene. A few mention a sagging second act. Digital Spy sits furthest out, with full marks. ## Straight answers **Is Obsession worth watching?** *Obsession* is worth watching for anyone who likes horror, and we scored it 79. Curry Barker's film about a man who wishes a woman would love him, and gets exactly that, is nasty, funny and properly frightening, with Inde Navarrette the reason to go. It is not subtle, the middle sags, and one killing tips into cartoon. **How long is Obsession, and what is it rated?** *Obsession* runs 1h 49m and is rated R by the MPA in the US. It is a horror and thriller film. **Where can I watch Obsession in the US?** *Obsession* is streaming on Peacock, The Roku Channel and Amazon Prime Video in the US, and it is also available to rent from Amazon Prime Video from $5.99. Availability is checked daily; the links above go straight to each service. **How violent or frightening is Obsession, and is it suitable for children?** *Obsession* is an 18 in the UK and R in the US, and it earns the certificate: the blood is frank and there is a lot of it. It is not for children, and the scares are built on silence and a face that will not stop watching, so the squeamish and the easily startled should think twice. Horror fans will be fine. **How does Obsession compare to Fatal Attraction?** *Obsession* and [*Fatal Attraction*](https://film.one/film/fatal-attraction) are both about wanting someone who will not go away, but the earlier film is a glossy, slick thriller and this one is an out-and-out horror film, bloodier and funnier. *Fatal Attraction* is the more polished and better acted across the board, though its last reel turns into a slasher; *Obsession* is the more frightening and the more honest about the man. **What should I watch after Obsession?** After *Obsession*, try [*Audition*](https://film.one/film/audition) (1999, Fi1m 84): A lonely man picks his perfect woman; Miike makes him regret it, slowly, then not slowly. Then [*Fatal Attraction*](https://film.one/film/fatal-attraction) (1987, Fi1m 70): The glossy grandparent of every film about wanting someone who will not go away. ### Reviews we read (24) - **IndieWire**, Christian Zilko (90/100, inferred): The review praises Barker's direction of a simple 'be careful what you wish for' premise that exceeds expectations by making viewers more afraid to be the perpetrator than the victim. It positions the film as one of 2026's best horror movies. [Read](https://www.indiewire.com/criticism/movies/obsession-review-curry-baker-1235149428/) - **The AV Club**, Monica Castillo (A-): Barker turns the 'be careful what you wish for' trope into a blistering horror with escalating tension, carnage, and unease from the start. It praises Navarrette's wild, committed performance (channeling Possession) and the effective cinematography and editing. [Read](https://www.avclub.com/obsession-review) - **The Hollywood Reporter**, Frank Scheck (90/100, inferred): The critic praises the film for freshening up the well-worn 'Monkey's Paw' horror formula with a skillful mix of dread, jump scares, and dark comedy, marking an instant breakout for director-writer Curry Barker. The lead performances are highlighted, especially Inde Navarrette's intense and frightening turn as the possessed love interest. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/obsession-review-curry-barker-1236590399/) - **Empire**, Lou Thomas (85/100, inferred): The critic finds Barker's horror a fresh and exhilarating twist on the 'be careful what you wish for' trope, praising its blackly funny and gory take on unhealthy infatuations. Navarrette's performance as the increasingly unhinged Nikki is singled out as sensational, with her outlandish actions providing many of the film's finest moments. [Read](https://www.empireonline.com/movies/reviews/obsession/) - **Little White Lies**, Emma Kiely (4/4/4): The critic finds it a truly effective psychological horror that marks the theatrical debut of a singular horror vision. She singles out the lead performances, especially Inde Navarrette as Nikki, along with the director’s moody colour grading, grip on scare timings and sparing but effective use of gore. [Read](https://lwlies.com/reviews/obsession) - **Radio Times**, Patrick Cremona (4/5): The film is praised as a clever, low-budget horror that intelligently explores consent themes with innovative direction and a standout gory scare. It is sincere, fresh and darkly funny, raising questions about Barker's potential with bigger resources. [Read](https://www.radiotimes.com/movies/how-to-watch-obsession/) - **Screen Daily** (80/100, inferred): Barker's horror is an astute and entertainingly schlocky study of romantic co-dependency and patriarchal entitlement that subverts familiar wish-fulfillment tropes. Johnston and Navarrette impress in the central romance-gone-wrong dynamic. [Read](https://www.screendaily.com/reviews/obsession-review-curry-barker-puts-an-incisive-schlocky-spin-on-the-wish-fulfillment-horror/5216576.article) - **The Guardian** (80/100, inferred): The critic praises this debut feature from YouTuber-turned-filmmaker Curry Barker as a slick, effective upgrade from his viral shorts, delivering a cannily handled monkey's-paw premise about a wish for love gone wrong. They single out the lead performance by Inde Navarrette for its chilling transformation and the film's visceral, gory shocks and sound design. [Read](https://www.theguardian.com/film/2025/sep/06/obsession-movie-review-tiff) - **Time Out**, Dan Jolin (4/5): The critic finds the film an entertainingly nasty twist on romcom conventions that descends into disturbing psycho-horror. Navarrette's bold performance as the possessed love interest stands out amid some visual clichés. [Read](https://www.timeout.com/movies/obsession-2026) - **Variety**, Guy Lodge (80/100, inferred): The critic finds the film a clever and creepy take on the monkey's paw trope applied to modern relationships, praising its unnerving execution and standout performance by Inde Navarrette. They highlight the director's skillful blend of horror and commentary on codependency. [Read](https://variety.com/2026/film/news/obsession-review-1236747795/) - **Slant Magazine**, Marshall Shaffer (75/100, inferred): The critic praises Barker's skill at lingering in awkward, ambiguous conversations to build tension and discomfort, along with the confident execution of chilling set pieces and gory sequences. The film is positioned as a cautionary tale about the perils of wishing for one-sided love rather than genuine connection. [Read](https://www.slantmagazine.com/film/obsession-review-curry-barker/) - **Los Angeles Times**, Katie Walsh (70/100, inferred): The critic finds the film an effective horror take on obsessive love, praising Navarrette's instantly classic performance as the terrifying Nikki and Barker's command of style and pace. The premise is familiar but executed with dread and violence that elevates it. [Read](https://www.latimes.com/entertainment-arts/movies/story/2026-05-15/obsession-review-inde-navarrette-curry-barker-michael-johnston-horror) - **RogerEbert.com**, Katie Rife (70/100, inferred): The film channels 2020s cultural anxieties into a cruel, unsettling horror morality tale with grotesque imagery and destabilizing rhythm. Navarrette's powerhouse performance is highlighted, though the lack of a female perspective limits its thematic depth. [Read](https://www.rogerebert.com/reviews/obsession-curry-barker-movie-review-2026) - **Sight and Sound** (70/100, inferred): The film blends genres effectively, mixing bloody violence with awkward humour and visceral horror through strong performances, especially Inde Navarrette's dual-natured Nikki. It holds a troubling mirror to male fears and desires but has some flaws in subtlety, pacing and one cartoonish murder scene. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/obsession-curry-barker-plays-twisted-ideas-manosphere-violent-make-wish-horror) - **Vulture** (70/100, inferred): The film has a clever premise about obsessive love as a curse but reduces intriguing ideas to genre clichés and does little with deeper notions of desire. It praises Navarrette's performance for making the character's unpredictability believable and the claustrophobic focus on the central relationship. [Read](https://www.vulture.com/article/obsession-review-curry-barkers-horror-film-weaponizes-love.html) - **Digital Spy**, Ian Sandwell (5/5): The critic calls it one of the year's best films overall and a standout horror, highlighting its unpredictable twisted turns, strong lead performances especially Inde Navarrette's star-making turn, and effective direction that balances discomfort, scares, and dark humor. [Read](https://www.digitalspy.com/movies/a71279585/obsession-review/) - **Eye for Film**, Andrew Robertson (90/100, inferred): The critic calls it a well-crafted efficient horror thriller, an incredible version of an old story, indicator of talent and an absolute treat. Praises performances, especially Navarrette, and production design. [Read](https://www.eyeforfilm.co.uk/review/obsession-2025-film-review-by-andrew-robertson) - **NME**, Alex Flood (90/100, inferred): The critic calls it the freshest and most terrifying horror film of the year so far. They single out Inde Navarrette’s fearless, unsettling performance as Nikki (transformed into an obsessive, nightmarish figure) for particular praise, alongside Barker’s sharp dialogue, sparse lighting, and innovative sound design that creates effective jump-scares. [Read](https://www.nme.com/reviews/film-reviews/obsession-review-horror-curry-barker-inde-navarrette-3945651) - **/Film**, BJ Colangelo (8.5/10): The critic describes the film as a confident crowd-pleaser that smartly avoids sympathy for its entitled protagonist. They single out Inde Navarrette's astonishing, star-making performance as the monstrous femme for particular praise. [Read](https://www.slashfilm.com/2147736/obsession-2026-horror-movie-review/) - **Polygon**, Jesse Hassenger (85/100, inferred): The critic praises the film as an innovative, secular take on possession horror that avoids typical Exorcist ripoffs by framing it as a monkey's-paw wish story. They single out Inde Navarrette's bravura performance as the possessed character for creating a mix of fear and pity. [Read](https://www.polygon.com/obsession-review-curry-barker/) - **Collider**, Hannah Hunt (8/10): The critic highlights the exploration of emotional entitlement and 'nice guy' dangers, excellent performances especially Navarrette's, strong direction, sound design, and pacing. It's emotionally devastating psychological horror. [Read](https://collider.com/obsession-review-curry-barker-psychological-horror/) - **Deadline**, Glenn Garner (80/100, inferred): The critic praises Curry Barker's sophomore feature as a chilling horror breakout that establishes his style, while highlighting Inde Navarrette's performance as solidifying her status as a scream queen in the making. Navarrette's chilling, unpredictable portrayal of the possessed Nikki—with its demonic mood swings and creepy mannerisms—is singled out for praise as terrifying and exhilarating. [Read](https://deadline.com/2026/05/obsession-review-inde-navarrette-scream-queen-curry-barker-1236906961/) - **HeyUGuys**, Linda Marric (4/5): The critic praises the fresh take on the premise, focusing on desire and possession, with standout performances by Navarrette and Johnston, and emotional specificity in the horror. Minor issues with pacing in the second act. [Read](https://www.heyuguys.com/obsession-review/) - **The Playlist**, Carlos Aguilar (B+/A-): The critic calls it a gruesome, darkly funny two-hander about obsession, control, and the horror of getting exactly what you asked for. They single out the lead performances for turning toxic love into a grotesque nightmare and for sharp commentary on poisonous relationships. [Read](https://theplaylist.net/obsession-review-curry-barker-twisted-horror-20260512/) ## Details - **Director:** Curry Barker - **Director:** Curry Barker - **Writer:** Curry Barker - **Cinematography:** Taylor Clemons - **Editor:** Curry Barker - **Music:** Rock Burwell - **Production design:** Vivian Gray - **Costume design:** Blair James - **Producer:** James Harris, Christian Mercuri, Haley Nicole Johnson - **Cast:** Michael Johnston as Bear; Inde Navarrette as Nikki; Cooper Tomlinson as Ian; Megan Lawless as Sarah; Andy Richter as Carter; Haley Fitzgerald as Viola; Darin Toonder as Harry; Anthony Pavone as Reggie - **Runtime:** 1h 49m - **Certificate (MPA):** R - **Release (the US):** 15 May 2026 - **Genres:** Horror, Thriller - **Budget:** $750,000 - **Box office:** $510 million - **Trailer:** https://www.youtube.com/watch?v=gMC8kkwbIQQ ## Where to watch in the US - Peacock: streaming, uhd - The Roku Channel: add-on, hd - Amazon Prime Video: add-on, uhd - Amazon Prime Video: rent $5.99, uhd - Amazon Prime Video: buy $9.99, uhd *Checked 2026-09-10.* Also available in: AT, AU, BE, BR, CA, CH, CL, CO, CZ, DE, DK, ES, FI, FR, GB, HR, HU, IE, IN, IT, JP, MX, NL, NO, NZ, PL, PT, RO, RS, SE, US. Add `?region=XX` to this URL for another country. ## If you liked this - *Audition* (1999), Fi1m 84: A lonely man picks his perfect woman; Miike makes him regret it, slowly, then not slowly. — [Fi1m page](https://film.one/film/audition.md) - *Possession* (1981): Żuławski’s marriage breakdown as full-throated horror; Isabelle Adjani does things we still cannot explain. - *Fatal Attraction* (1987), Fi1m 70: The glossy grandparent of every film about wanting someone who will not go away. — [Fi1m page](https://film.one/film/fatal-attraction.md) - *The Love Witch* (2016): Anna Biller’s Technicolor pastiche about a woman making men love her, and what that costs them. - *Bedazzled* (1967): Peter Cook and Dudley Moore prove that seven wishes are seven ways to be miserable. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/obsession