Passion
Director: Kari Barker
Mould: Michael Johnston, Andy Navarrete, Cooper Tomlinson, Megan Lawless, Andy Richter
Rating: ★★★★★
I’m breaking one of my cardinal rules for movie reviews Passion. This will be a spoiler-filled review. Usually, I talk about how a film was made and how it made me feel, and that’s enough. But with Obsession, it’s impossible to discuss or criticize its impact without delving into the nuances of those scenes and themes. It would be no exaggeration to say that Obsession will go down in history as a seminal horror film. Kari Barker’s feature debut is everything horror should be – dark, tragic, scary, and uncomfortable. But this is too much. It shines a mirror on our society’s most privileged and omnipresent monster – the good guys. And it is in this way that connection is felt between all genders.
Base (spoilers ahead!)
Bear (Michael Johnston), a music store employee, has an unrequited crush on his co-worker Nikki (Inde Navarrete). Since he is too stupid to tell her this himself (despite her repeatedly asking), he thinks the only way is to wish for it. The only thing is that the wish comes true. Nikki now loves him ‘more than anything in the world’. The only problem is that Bear realizes that it’s not Nikki, but something that forces him to reciprocate that deep love he has for her. The real Nikki is trapped below. A fight between the two and Nikki’s ‘love’ leads to a violent clash as the bear realizes he has bitten off more than he can chew.
real monster of passion
first things first. Despite what you may have seen on TikTok or Instagram Reels, Nikki is not a monster here. Despite her anger and terrible behavior, she suffers greatly, reduced to being a puppet of the obsession of a man who refuses to recognize her autonomy. The monster is the bear, and the titular obsession is his. Very subtly and very cleverly, Obsession establishes Bear as a likeable young man. He’s awkward, even respectful and shy. When his wishes are granted, he is a perfect lover, but only until the cracks begin to appear.
There were two moments in the film that clearly established Baer as our bad guy. There is a hair-raising moment where he hears the real Nikki scream and decides to keep himself away from her. He does not want to face the truth that he has forced an innocent girl into a life of sexual slavery. The second is more direct, as Nikki walks forward writhing in pain. And his only response is: ‘What’s so bad about being with me?’ Entitlement, righteousness and unwillingness to be accountable are the demons here – the ones we see around us every day.
superbly crafted
Currie Barker’s debut is a breath of fresh air. Horror as a genre is at its best in the last several decades Hollywood. Over the past few years, independent, new voices have breathed new life into it, and Barker is carrying that torch forward. The economics of obsession is a boon for the film. The cash-strapped director and crew resorted to practical effects and makeup to create a horror that immerses you more deeply in this world. This adds to the realism. The decision to shoot the film in grainy, dark conditions makes it all the more serious and personal. DOP Taylor Clemons’ decision to not show Nikki’s face in several key scenes is telling, as it allows Inde Navarrete to soothe us with her voice and creates an uncanny valley effect for the audience, maxing out the discomfort meter.
But it’s the score that makes it for me. At several points, Rock Burwell ramps up the anxiety by building a crescendo, only to dissipate it without any fear. The anticipation keeps building, and when it explodes, the reward (and surge) is so tremendous that one can feel it within oneself. The result is exhausting but in a good way, a way that gives you a feeling of dread.
inde navrate, revelation
Besides Kari Barker, if there’s a star in Obsession, it’s young Inde Navarrete. The young actor has delivered an amazing performance in a performance that is likely to be talked about for years. Nikki starts out playful, cheerful and adventurous. It may be a horror-victim trope, but it plays well. But it’s a transformation she pulls off brilliantly. Smiles and quick reactions aside, the way Ende plays with her voice and creates an unsettling atmosphere in certain scenes is brilliant. This is easily the best acting performance of the year so far, and I’m having a hard time thinking of what could top it.
Passion as social commentary
Horror has always been a genre that is more political than the rest. It’s just that for years it was seen as a group of demons and vampires. Thanks to pioneers like Jordan Peele, Danny Boyle, and del Toro, that’s no longer the case. Passion is the next logical step in that progression. The film is a profound retelling of how men – even those who think they are good at all things – fail to understand a woman’s consent, autonomy, and free will. And once again, it shows that often the scariest monster is the man who refuses to respect a woman.