****
Curry Barker is the latest of a fresh, new generation of film directors putting their stamp on the horror genre, along with others such as Zach Cregger (Weapons ) and Danny and Michael Phillipou (Bring Her Back ).
Despite the innovative possibilities of the horror genre seeming somewhat limited, Obsession shows the value of a filmmaker who has an innate instinct for what unnerves the audience, turning a fairly simple-sounding story concept into something that maintains a consistent feeling of dread throughout.
Bear is in love with Nikki. He agonises over whether he should share his feelings and discover if she feels the same way.
Despite encouragement from best friend Ian (Cooper Tomlinson ), Bear cannot summon the confidence at the critical time, and in a moment of desperate frustration, decides to put his faith in a “One Wish Willow” convenience store novelty item. Bear wishes that Nikki loved him more than anyone in the world. Once the wish is made, Nikki immediately begins to act differently around him.
Those who expect gnarly, blood-filled scenes will be well compensated by Obsession. However, beyond the shock value that those graphic moments deliver, the film is also a perceptive look at relationship dynamics, especially the detrimental effects that ego and self-preservation have on an individual.
Bear seems compassionate and kind, but is also sneakily self-obsessed. He does consider the welfare of others, except when he may be directly affected. Early in the film, he loses a loved one, purely as a result of his own carelessness, and this comes back to haunt him in a grossly upsetting way. It will make your stomach churn.
The fine performances from the four principal actors result in a group of close friends whose friendship is instantly believable. Traditional romance tropes are playfully subverted.
The first scene is particularly impressive in how, visually, it changes the viewer’s understanding of the situation. At first it seems like a clichéd romantic speech, then a revelation that it is not directed at a love interest, but is instead more of a practice run for the real thing. Finally, the viewer realises that Bear and his friend have actually reeled in a waitress to help them with their childish request. It is a great example of the main character using those around him as objects for his own personal problems; not taking their perspective into consideration.
That is only one of a handful of brilliant, comedic moments.
Horror nowadays has become intertwined with comedy. It can be un-apologetically self-serious, or self-aware and fun. This is more of the latter, but the film has an undeniably sharp bite to its horror imagery that is really affecting.
Barker knows how to craft an image that traps you in a state of unease; visual trickery to emphasise the strangeness of Nikki’s movements and unnerving physicality. Shrouding her face in darkness to add further mystery to her character. While this adds up to a highly disquieting atmosphere, Barker pushes scenes to the extreme, where you can’t help but laugh at the outrageousness of what you are watching. The comedy heightens the experience, rather than dilutes it.
This is a terrific acting showcase for India Navarrette who gives a genuinely transformative performance, comparing Nikki in the first act with the same character in the third act.
This film sticks to its guns from beginning to end, joyfully tormenting its characters, and refusing to explain the mysteries of their off-kilter version of reality. Like Weapons, it warrants the communal cinema experience.
4/5 stars
In Galway cinemas now
