Obsession review – Truly, madly, deeply disturbing

The issue with a horror film achieving mainstream success is that it can very swiftly become overhyped. That’s a problem facing Obsession, a supernatural-draped psychological horror movie that is currently the eighth highest-grossing film of 2026, earning nearly $300 million (to date) on a sub-million budget. If you aren’t familiar with the genre, you may agree with claims that Obsession is “the greatest horror film ever made.” That’s an extreme, and easily contested, statement, but there’s no denying that Obsession is deeply disturbing, thematically rich, more than competently made, and memorable. You can’t really ask for anything more… of any movie.

In Obsession, insecure twentysomething Bear (Michael Johnston) has been struggling for years to admit his romantic feelings to former school friend, now work colleague Nikki Freeman (Inde Navarrette). When he fails to capitalise on the perfect moment, he makes a knee-jerk wish that Nikki will love him more than anything else in the world, snapping a One Wish Willow novelty toy to seal the spell. Shockingly, it works, but too well, as Nikki’s behaviour becomes increasingly erratic and possessive. Careful what you wish for, and all that.

Obsession is probably best compared to Talk to Me, in the sense that it keeps its narrative focus tight and character driven. Against the backdrop of everyday environments, with no distracting CGI, it provides plenty of percolation space for its sympathetic and relatable depiction of young people. That is, until its young people, and, by extension, the audience, are subjected to shocking moments of violence, and skin-crawling depictions of “demonic” possession that come out of nowhere. There are other similarities as well. Writer-director Curry Barker joins the ranks of Danny and Michael Philippou, Markiplier and Kane (Backrooms) Parsons as YouTubers who have shifted over to movie making with critical and commercial success.

It’s understandable why Navarrette is receiving most of the attention for her uncomfortable, unhinged performance in Obsession, which immediately ranks among the all-time genre greats. If the film industry continues to treat horror with respect, she may even be due some award attention later in the year. It’s not a one-woman show, though, as the small but likeable supporting cast does their bit. Johnston also successfully walks a difficult line: portraying Bear as a timid everyman caught in the nightmare, who nonetheless is actually the film’s villain due to how he selfishly instigates and enables Nikki’s behaviour because he finally has her love – however fake; however much trauma his magical puppetry is putting her through.

On that note, strip out the pitch-black fairy tale element of the movie – it’s not a coincidence that Nikki references the Brothers Grimm at one point – and Obsession works incredibly well as an exploration of toxic co-dependency. The representation is taken to a brutal extreme (though not literally, like in last year’s Together), but it’s still peppered with enough moments that audiences could easily have witnessed, or experienced themselves, adding to the potent sense of unease that powers the movie. Ranging from jealous public outbursts, to emotionally manipulative “If you leave, I’ll kill myself” comments, Nikki’s actions are wall-to-wall red flags. The flipside is Bear’s constant placation, excuse-making and half-hearted bargaining because he’s finally wanted by the woman of his dreams.

Though it delivers a jump moment or two, Obsession isn’t conventionally scary. With an effective grasp of framing and pace, it does everything it needs to within 109 minutes, though, swiftly slipping under your skin, needling and ensuring you’re in a state of breath-holding discomfort right up to its harrowing ending.

Obsession is in cinemas now, having released on 15 May.