As the old adage goes, be careful what you wish for. For Obsession’s hopelessly romantic lead, it would have served him well to heed that advice. Writer-director Curry Barker takes this familiar concept and runs with it in his feature film debut, Obsession, a one-note horror feature that will likely fail to satisfy TIFF’s Midnight Madness audience.
Bear (Michael Johnston) has long been in love with his friend and coworker Nikki (Inde Navarrette). When his plans to confess his love for her go poorly, he makes a wish on a magic “one wish willow” from a New Age-y store that promises to grant its holder a singular desire. Eschewing any warnings, Bear takes the plunge and wishes for what his heart desires: that Nikki will love him more than anyone in the world.
Immediately, Nikki sees Bear in a new light. What begins as a fantasy soon curdles into a nightmare as Nikki’s behaviour fractures, her unsettling dysphoria hinting that her actions and feelings are beyond her control. Bear’s wish has put him, his friends, and Nikki in danger, as her love has devolved into a violent obsession.
Barker is a competent director, and it is easy to appreciate the look of the film, courtesy of cinematographer Taylor Clemons. But ultimately, the film’s narrative just feels too flat and repetitive.
Johnston is satisfyingly awkward. He’s the shy guy who trades his fears of the repercussions of confessing his love to Nikki more than he does the consequences of his actions. While Bear feels like a fully realized character, the same cannot be said for Nikki. She’s reduced to the extreme lovesick whims of Bear’s wish. He becomes her world, and unfortunately for Navarrette, there isn’t much focus for her to focus on other than Bear. She does oscillate exceptionally well between the normal, bright-eyed Nikki and the under the spell version of Nikki, but it is difficult to see her as much more than a man’s fantasy puppet. The secondary characters in the friend group are painted in equally broad strokes, feeling more like stock characters in a horror sketch comedy than fully fleshed out players.
As Obsession’s plot progresses, Nikki’s obsession grows deeper. She becomes a violent physical threat to everyone who isn’t Bear. His wish has become his worst nightmare. Elements of humour creep into the script here and there, but they often feel more out of place than fitting, especially as the film ratchets up the increasingly unhinged violence as the climax approaches.
It is challenging to offer a fresh perspective on a well-worn theme, particularly when it’s combined with an equally overused obsession trope. Horrors and psychological thrillers about obsessive love and regretful wishes are themes that have been tackled before. Needful Things, Wishmaster, and The Box are just a few that come to mind, as do a multitude of takes on the Monkey’s Paw story, while Fatal Attraction, Obsessed, and Sleeping with the Enemy nail violent love as an obsession.
The question one must ultimately ask when considering a Midnight Madness movie at TIFF is, “Is this worth staying awake until 2 a.m. for?” For Obsession, the answer is a resounding “nope”. My only wish when watching would be for my bed and a little extra shut-eye.
Obsession screened as part of the 2025 Toronto International Film Festival.
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