All articles tagged with #obsession
In a spoiler-filled interview, Michael Johnston argues that Bear is a morally gray figure rather than the film’s outright villain, detailing his motivations, the controversial “What’s so bad about being with me?” moment with Nikki, the dynamics with Ian and Sarah, and how the ending and Curry Barker’s direction invite audiences to grapple with desire, consent, and consequence.
The US domestic box office climbed this weekend thanks to the surprise success of the film Obsession, lifting overall grosses and drawing larger crowds to theaters, signaling momentum for the industry as audiences return to cinemas.
Focus Features' Obsession, a $750,000-budget horror by Curry Barker, surged in its second weekend to $23.9 million (over Memorial Day, $30M with Monday), finishing No. 2 behind The Mandalorian and Grogu and marking an unprecedented 39% weekend rise for a horror title opening on 2,000+ screens. With worldwide gross over $80 million, the film’s success underscores a trend of low-budget horrors thriving and highlights the growing influence of YouTubers in promoting horror cinema.
Blumhouse-backed low-budget horror Obsession defied typical genre drop-offs, grossing $22 million in its second weekend (up about 30% from its $17.2 million opening) and an estimated $28.2 million over Memorial Day, for domestic total around $58.5 million and roughly $74 million worldwide. Produced for under $1 million and acquired by Focus Features for $14 million, it opened in 2,000 theaters without a platform release and has benefited from strong word-of-mouth, a CinemaScore of A- and a 94% Rotten Tomatoes rating, helped by a young audience (about 75% aged 18–25). The film, directed by first-time filmmaker Curry Barker and linked to YouTube creator culture, signals a new model where online creators can drive theater attendance, with Barker’s next project Anything But Ghosts already in development. The movie is expected to be one of the year’s most profitable releases.
Megan Lawless explains the making of Sarah's brutal death in Obsession: Inde Navarrette used a helmeted wig to break through the glass, Lawless had to bash her head into brick for the close-up, and the crew later swapped in a doll for the final shots. The sequence required two takes and even drew a cheering reaction at TIFF, with Lawless noting the scene’s iconic status and discussing whether Sarah or Nikki could have had a happier ending.
Star Wars: The Mandalorian and Grogu topped the Memorial Day box office with about $82 million in U.S. theaters (and roughly $165 million worldwide by Monday), outpacing expectations and signaling solid profitability at a reported production budget of around $165 million. Focus Features’ Obsession bucked typical trends with a 30% jump in its second weekend, taking about $22.4 million and driving the four-day frame to roughly $211 million in total domestic box office, though the year is down about 36% from last Memorial Day. New releases like Passenger and Michael Jackson biopic Michael followed in the lower tiers, while critics’ reviews remained mixed for Mandalorian (63% RT) but audiences gave it strong marks (A- CinemaScore).
The low-budget horror film Obsession exploded in its second weekend with $28.2M (up 30% from its opening), bringing North American total to about $58.5M and worldwide to $74M on a budget under $1M. Driven by strong word-of-mouth, an A- CinemaScore and 94% Rotten Tomatoes, and a young 18–25 audience, Focus Features released it in 2,000 theaters without a platform rollout, signaling a profitable run and highlighting a new generation of horror hits that sustain theaters and help Blumhouse’s ongoing projects and Barker’s next film.
The film Obsession delivered a surprising debut weekend, outperforming projections and outpacing other new releases, marking a rare box-office uptick that suggests strong early word-of-mouth and a selective theatrical run.
Disney’s The Mandalorian and Grogu opened to $33 million from about 4,300 North American theaters and is projected to reach roughly $80–$100 million over the Memorial Day weekend, a result analysts call a modest success despite franchise fatigue; horror Obsession posted a very strong second weekend with about $19.9 million and an estimated four‑day total around $24.8 million, while Lionsgate’s Michael is third with roughly $18.5 million for the weekend and The Devil Wears Prada 2 around $14 million; new titles I Love Boosters and Passenger also debuted.
Curry Barker, 25, has burst onto Hollywood's horror scene after Obsession premiered at TIFF to strong buzz, with Focus Features purchasing the $750,000 film for about $15 million. Barker writes, directs and edits his projects from a bedroom studio with collaborator Cooper Tomlinson, while lining up Anything But Ghosts and a Texas Chainsaw Massacre adaptation for A24, and drawing backing from Blum and Roy Lee as he becomes one of the genre's hottest young talents.
Inde Navarrette stars in Obsession, a TIFF-acquired horror romance from Curry Barker, which opened to $17.2 million and placed third behind Michael and Prada 2. The film earned an A- CinemaScore and strong PostTrak interest, suggesting solid legs, and Barker is already lined up for Anything But Ghosts with Blumhouse/Focus and an A24 reboot of Texas Chainsaw Massacre.
Michael returns to No. 1 at the domestic box office with $26 million in its fourth weekend, outpacing new releases like The Devil Wears Prada 2 ($18 million) and Obsession ($16 million). The biopic has $283 million in North America and $703.8 million worldwide, the top-grossing musical biopic in the U.S. and closing in on the worldwide records; Obsession opens strong in third with $16 million, while Mortal Kombat and Is God Is round out other openings. Overall, the box office is roughly 16% ahead of last year as summer releases heat up.
Horror filmmaker Curry Barker discusses his new film Obsession, his breakout Milk & Cereal, and ongoing support from Jason Blum. He explains how his collaboration with Tomlinson evolved from film school to online audiences with “That’s A Bad Idea,” and notes that Blum is championing his work for future projects. Barker also shares casting insights, notes a previously more extreme cut that was toned down, and hints at a busy slate ahead including Blumhouse collaborations and involvement in A24’s Texas Chainsaw Massacre project, all while Obsession is currently in theaters.
Deadline reports that Curry Barker’s horror hit Obsession is thriving at the box office as he weighs a follow-up—either a direct Obsession 2 or an anthology TV series set in the same world. Barker acknowledges a plot hole around the One Wish Willow, noting the film’s rules don’t fully make sense because wishes could create alternate realities, yet the story still follows Bear’s and Ian’s wishes (and a money-wish moment) in a way that’s hard to reconcile. He envisions multiple episodes exploring different wishes or a film sequel, potentially directing the pilot with a new team, while remaining open to revisiting Obsession despite other projects in development.
In a Hollywood Reporter interview, Inde Navarrette breaks down Nikki’s terrifying transformation in Curry Barker’s Obsession—how a wish from Bear unleashes a possessed, violent side, the practical, non-CGI crafting of Nikki’s movement, and the ending in which Bear sacrifices himself to undo the wish. She also discusses the TIFF premiere, Focus Features’ acquisition, influences like Jennifer’s Body and Mia Goth, and the possibility of revisiting the world in a sequel.