By Gopal Ram Tripathi
What we want is always a mystery; what we don’t want is always in the open. A person chooses between the two sides of a coin, but the possibility is in the uncertainty. Barker’s 2026 ‘Obsession’ has opened a void for the generation to look deep into the society that remains demanding but less giving. Indeed, we fully grasp why the film feels compelled to explore the intricacies that persist as a question, a topic frequently debated among today's youth. But this the reason why the film spreads out in the most brutal way possible, Barker’s intimacy with his film is one for the audience. The closer we look the deeper we get, ‘Obsession’ as a film does not pretend at all rather it does quite the contrary, where the audience’s perception is collided with the inner morals of the characters in the film… What remains is the primary source of the subject that the film underlines which is ‘Obsession’. A familiar word, more like a household word used very often all over the world, but here it gets more feisty.
We won’t miss any chance to not discuss Baron or “Bear”. Bear is certainly a troubled young man, and he surely resonates with many young people around the globe, but what truly drives him into the mess that he was never thought of being part of, naturally he was the reason why there was a mess in the first place. Johnston’s ‘Bear’ doesn’t complain but internally keeps all to himself, the notion of being an innocuous person is what makes ‘Bear’ conclusive. Barker decides to let the audience be the judge of it, Baron’s hesitation lay down all the intentions that he might have for his feelings for Nicki, his childhood friend who he dearly “loves” but is not ready to face the consequences. A frequent fear among men that is the thought of getting rejected, pushes Baron to the level of non-acceptance. The decisions you make have consequences that never go unjudged. Baron is deep into the madness that he surely thinks he is responsible for. Can we really sympathize with Baron or not?
This implication is related to Nicki, why is there a non-negotiable pact between her and Baron? We can see that Baron likes Nicki, but Nicki has no say in this but rather calling their relationship as platonic. Navarrette’s Nicki brings more questions to the table questioning the exact intentions that would be required to stop the mess to be moved further in the future. Her presence affects Baron more than anything, but Nicki is complicated. The abstract nature of Nicki’s emotion drives Baron’s feelings to wander astray in a never-ending void. Both remain uncertain, but whose fault is it? ‘Obsession’ matches the level of insanity that becomes a big pile of mess, Nicki and Baron are stuck forever in a curse that is non-negotiable.
Barker is reluctant to give the audience what they really need to look into, connecting the film with the cycle of this generation’s emotional beliefs. For a Youtuber, this seemed impossible but he eventually crafted the very thing he was more attached and close to. ‘Obsession’ as a psychological film uses the perfect blend of camera techniques and sound effects to trace the audience’s reaction, the build-up of unsettling moments through lighting used show how Barker is familiar to the cinema. A mere effortless performance by Navarette and Johnston is a treat for the audience. Where Navarette’s transformation into Nicki is truly remarkable on the screen, the play of expressions are unsettling and disturbing in its own way. The intensity increases as we move forward in the film, and with it the madness completely takes over. Barker gave away a lot of hints throughout the film that suffice the elements required in a horror film. ‘Obsession’ commits itself and tells a story that kindles the idea of how we portray our emotions personally and in public, at the end we remain the ones with the responsibility.
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