Major Hollywood studios burning through hundreds of millions of pounds on bloated, forgettable cinema could really learn a thing or two from what Curry Barker has pulled off here. With barely any money behind it and virtually no mainstream profile, this little indie horror managed to build proper word of mouth simply by being so well put together. Seeing so much buzz around an unknown young director and a cast of fresh faces naturally grabbed my attention, and going into it with completely open expectations turned out to be the best shout I could have made.

Now, the story itself centres on a young lad called Bear, played by Michael Johnston, who has a painfully obvious crush on his co-worker Nikki, played by Indi Navarrette. Nikki is getting ready to leave her job, and knowing her fondness for crystals and mystical trinkets, Bear heads into a shop and picks up this novelty item called a one-wish wonder. His plan was to give it to her as a parting gift, but after completely messing up his chance to actually confess his feelings, frustration and disappointment get the better of him. In a bit of a state, he makes a wish on the stone that Nikki would fall completely in love with him, more than anything else in the entire world.

Instead of playing out like some lighthearted fantasy flick, the film takes a proper dark turn really quickly. The wish works, but it turns out to be brutal, extreme, and genuinely disturbing. Nikki doesn't just fancy him; she becomes obsessively fixated, taking measures that cross well beyond normal affection and straight into gruesome horror territory. Bear soon finds himself trapped in a waking nightmare created entirely by his own impulsive mistake, which is where things get really intense.

What makes this dynamic work so brilliantly is the acting, particularly from Navarrette. She is utterly unhinged in the role, yet there is real nuance to what she does on screen. One minute she is carrying out terrifying, violent acts, and the next she is desperately trying to behave like a normal girlfriend, almost as if the real Nikki is trapped beneath this spell and trying to claw her way out. That rapid snapping between everyday charm and sheer mania is deeply unnerving to watch. It is easy to see why she has recently landed a role in the Marvel X-Men projects, because her screen presence is undeniable.

Johnston is equally solid as Bear, capturing the pure panic of someone who realises far too late that he has unleashed something horrific. He clearly cared for Nikki, which makes his internal conflict feel authentic, but Barker gives him a distinct spineless streak that adds welcome depth. Bear is not your classic brave hero. His cowardice is the very reason he failed to talk to Nikki in the first place, and that hesitation continues to drive his flawed decisions as things get bloody.

Visually, the film does not look like a shoestring indie project in the slightest. Barker opts for a grey, moody look that feels intimate and grounded without ever looking cheap. There are moments that genuinely give you the shivers, like Nikki silently watching Bear sleep, relying entirely on atmosphere and tension rather than flashy tricks.

Like with all of my reviews, I have to talk about the score, and Brock Burwell's work here is a massive contributor to that creepy feeling. It leans into a retro, synth-heavy style that reminded me a lot of Stranger Things, balancing 80s nostalgia with genuine unease. What impressed me most was how pleasant and melancholic the music sounds during deeply unsettling scenes, creating a jarring contrast that really amplifies the horror. When the music suddenly drops away into dead silence, the sudden quiet makes the tension almost unbearable.

If I had to nitpick, the acting felt slightly rough around the edges in the opening few minutes, which briefly had me wondering whether the micro-budget was going to show. To be honest, as soon as the premise took hold, those minor worries vanished entirely. The pacing is tight, avoiding the modern trend of stretching films out past the two-hour mark simply because digital cameras make it easy to keep shooting. Obsession is proof that a sharp vision, strong storytelling, and committed performers matter infinitely more than a bloated budget. Barker has delivered one of the most refreshing surprises of the year, and it is a film that genuinely deserves every bit of praise coming its way.