“Obsession” follows a hopeless romantic who breaks the mysterious “One Wish Willow” to win his crush’s heart, getting exactly what he asked for while discovering that some desires come at a sinister price.
If there’s a movie that you don’t want to take a first date to, that’s probably “Obsession.” It’s many things: downright hilarious, dreadfully uncomfortable and overtly violent — the first two more than the latter.
It’s a simple premise, one that’s been done many times before. Yet here, it somehow still feels fresh. This is largely because of writer-director Curry Barker. Rather than getting caught up in the specifics, he asks the audience to simply go along for the ride. Is it realistic? Not at all. And it doesn’t need to be. Because Barker sticks to the concept itself and not the backstory behind it, the film flourishes.
It’s this unrealistic flavor that sometimes causes it to bite off more than it can chew, however. As the runtime progresses, so does the absurdity of it all. Characters consistently make unfathomable decisions just to keep the narrative moving. And with a 110-minute runtime, this can grow taxing. Around the midway mark, “Obsession” falls into a sort of rinse-and-repeat pattern. Weird event happens. Nothing follows. Over and over again. This only lasts for so long, though, as it eventually breaks free from the shackles and expands the scope of its conflict.
Ultimately, this is a “be careful what you wish for” movie. We all have wild fantasies and deep desires, but with every positive also comes a negative. This duality is beautifully (and horrifically) explored here. The concept is elevated from basic to timely by doing so in the realm of modern dating.
If you’ve been in an unhealthy relationship (or a healthy one for that matter), “Obsession” contains moments that will likely creep under your skin. There are gazes of love that last too long. There are screams of “I love you” and “please.” That’s not all, though. There are also plenty of abstract scenarios within that are pure nightmare fuel for couples who have even an ounce of distrust. Amid all the craziness, it’s clear who the real villain is — and it’s definitely not Nikki.
Rather than being over-the-top at the start, “Obsession” builds up slowly. Early on, it introduces subtle cues that make the first half of the film edge-of-your-seat tense. Nothing inherently “awful” happens, but there are a plethora of “bad” actions that generate constant discomfort.
Inde Navarrette (Nikki) is at the heart of all these moments. It’s an impressive performance, one that is completely unhinged and all over the place… every step of the way. Even when Navarrette is acting “normal,” she still brings charisma and energy that is magnetic. Once she goes a little “cuckoo,” though, it’s game over. She’s the perfect mixture of soft-spoken and bombastically loud. One second she’s apologizing quietly before abruptly erupting into violent screams. She’s able to pull off these different emotions effortlessly. Michael Johnston (Bear) delivers an equally impactful performance, just in a different way. Some of Johnston’s best scenes don’t even require words; him simply staring in stone-cold shock does the trick.
When the two are bouncing off each other, it’s like lightning in a bottle. While Navarrette typically has the upper edge in terms of loudness, Johnston’s delivery is just as necessary for these scenes to work.
Director of photography Taylor Clemons brings a distinct style to the film’s visuals. “Obsession” features strange framing that is meant to be off-putting. Characters’ heads are sometimes cut off at the top. The 1.50:1 aspect ratio is claustrophobic. Wide-frame shots slowly zoom in. On top of this is the lighting. Time and time again, the film purposefully leaves shots murky and dimly lit. With many onscreen elements obscured, this leads to effective scares.
After waiting and waiting and waiting, “Obsession” becomes surprisingly violent. The gore of it all isn’t ever focused on for more than seconds at a time, with a whiplash approach that makes it more shocking. Practical effects shine in the final act, featuring a number of bloody scenes that reward viewers’ patience.
The sound design is just as integral to the scares as the visuals. In thrilling moments, it’s the audio that typically feels the most jarring. And usually… this is simply the echoing screams of Navarrette. This complements the imagery for a one-two punch.
There are also plenty of laughs intertwined with the horrors. “Obsession” includes an abundance of cringe comedy, specifically with these “obsessive” scenarios that you just can’t help but uncomfortably chuckle at. “Laughing through the pain” has never felt so real, because it could really be the mantra of this movie.
If “Obsession” can be labeled as one thing, it’s tortuous. In a good way. The film delivers laughs and scares combined in an uncomfortable package about modern love.
Rating: 4 out of 5
