No one could’ve possibly called this ahead of the film’s wide release, but the horror film Obsession has found itself in a pretty rare league for the genre, where Oscar nominations are a distinct possibility for what will go down as the surprise hit of the year. After opening to $17.2 million a little over five weeks ago, the film has seen weekly increases and has yet to see a weekend coming in lower than what it earned during its first weekend of wide release. On top of this, the film has engaged critics and audiences and continues to be the watercooler film of the summer. From its beginnings as a small independent horror film made on a $750,000 budget, Obsession has become so much more, and it’s something the industry can’t ignore. With Oscar attention becoming more and more of a reality each passing week, it’s time to determine which categories Obsession could find itself landing in.
Confirmation about Focus Features launching an Oscar campaign for Obsession came from writer and director Curry Barker during a recent interview with The Hollywood Reporter. Barker himself is trying to focus on other things and projects in the wake of the film’s massive success, with the movie pulling in over $224 million worldwide and counting, and doesn’t want to get too caught up in the movie’s Oscar chances, although he seems pleased that Focus Features plans on launching a campaign. The film is officially the highest-grossing release in the indie studio’s history, and combined with strong critical and audience support, Obsession has become more than a horror genre favorite. Because of its unprecedented box office run and the genuine creativity that was poured into it, Obsession is the kind of success story that Oscar voters love, and they might become obsessed with it in more than a few categories.
Does Inde Navarrette Go Lead or Supporting?
The first universal praise all out support for Obsession went to Inde Navarrette, who portrays Nikki Freeman, the young woman who becomes the subject of her friend Bear’s (Michael Johnston) crush that has dire consequences. Navarrette’s performance has been described not just as an all-timer for the horror genre but as a complete star is born portrayal because of the nuance, vulnerability, humor, and physicality that she brings to the role. She’s not simply chewing scenery. It’s a very skilled portrayal and a strong indication that she’s an actress capable of anything. An Oscar nomination for Navarrette has been shouted from the rooftops since the film’s opening, but what category she should land in has garnered a more mixed response.
Some circles wholeheartedly believe she should be campaigned in the Lead Actress category because she’s the female lead of the film. The story is centered around what happens to her, and the consequences have a lot to do with Nikki losing her autonomy, agency, and free will due to the selfish acts employed by Bear and his desires. Navarrette’s screentime gives off that of a lead character, and essentially, it comes down to her being the leading female performance in the film, while Johnston is the male lead. Beyond this, Navarrette’s performance has garnered most of the word-of-mouth buzz and is a big reason the film has generated continued interest.
A stronger push, according to some insiders, is to push for Navarrette in the Supporting Actress category, mostly because she’ll have a better shot at earning a nomination in that category, since Lead Actress could have more competition. There is also the opinion that Obsession is Bear’s story and that Nikki is the supporting player in it because everything that transpires is due to Bear’s actions.
Focus Features will likely look at the potential competition in both categories and make the decision based on that, but everything about Navarrette’s role in the film feels like the lead. Sure, we have a recent Supporting Actress win in the horror genre with Amy Madigan’s turn in Weapons, but that was a true supporting performance, in terms of screentime and the character’s role in the film’s story. Also, if Demi Moore can land a Best Actress nomination for the body horror film The Substance, Navarrette’s instantly memorable turn is worthy in that category as well.
Best Original Screenplay & Best Director
Obsession has received widespread critical praise, much of it due to Barker’s original screenplay and direction. Along with the film’s success has been the attached narrative of Barker’s beginnings as a YouTuber and how his skits and shorts on the platform helped lead him to what has been achieved with Obsession. Focus Features believed in him enough to acquire the film for $15 million out of the Toronto International Film Festival, and that belief should continue with a campaign for Barker as the film’s writer and director.
In terms of its screenplay, Obsession explores topical themes that have helped make it a big topic of discussion in many circles. The horror genre has always been the source of some of the best social commentary, and Obsession is no different. It tackles dynamics in male and female relationships, especially if the former has some semblance of power over the latter, which speaks to the imbalance within these dynamics that can sometimes take place. There is also a strong look at the concept of consent and how that isn’t defined in just one way. Nikki’s physical body might be with Bear after the wish is made, but her mind and her soul aren’t, and that is something Barker approaches with respect in a genre that sometimes isn’t given credit for such things. A nomination and possible win would keep him in good company with people like Jordan Peele and Ryan Coogler, who scored nominations for their original horror screenplays and ended up winning.
As a director, Barker could find himself in the position of being one of the youngest people to earn a Best Director nomination should he receive one. John Singleton was 24 when he was nominated for Best Director for helming Boyz n the Hood, making him the youngest nominee in the category, while Orson Welles was the same age as Barker (26) when he earned a nomination for Citizen Kane. Barker’s youth wouldn’t be the only reason a nomination would make for a great success story. With Obsession, he makes a respectable transition from the world of YouTube to the big screen.
Barker was able to turn $750,000 into a sleek production that looks like money well spent and not like something made on the cheap. Because of his background, which saw him making his short Milk & Serial for a mere $800, Barker was able to utilize a minuscule budget to great effect with Obsession. It’s shot and led with the experience of a seasoned pro, and since sometimes screenwriting and directing go hand-in-hand with Oscar voters, it’s not out of the realm of possibility that he could land in both categories.
Best Picture
Only eight horror films have been nominated at the Academy Awards, and only one has won top honors (The Silence of the Lambs). The other genre pictures that have been nominated include The Exorcist, Jaws, The Sixth Sense, Black Swan, Get Out, The Substance, and Sinners. What Obsession has in common with all of the films mentioned is that it has become financially successful and has already entered the pop culture zeitgeist with critics and audiences. During a time when as many as ten films can be nominated for Best Picture, Obsession seems to have a great shot.
It becomes even brighter when Obsession is compared to horror film nominees like The Sixth Sense, Get Out, and Sinners. The Sixth Sense was a huge word-of-mouth hit when it was released in August 1999, and it was written and directed by a director (M. Night Shyamalan, who felt like a breath of fresh air because of how unique The Sixth Sense felt at the time. Obsession has turned into an even bigger word-of-mouth smash, especially in terms of budget, and Barker represents a new breath of fresh air for an industry starved for new voices and ideas.
Get Out was another critical and financial hit, made for little money ($4.5 million) and with topical subject matter that helped make it stand out from standard genre fare. Peele also represented a director with a new and distinct voice for horror that helped make it one of the best horror films of the 21st century, and the Blumhouse Productions connection doesn’t hurt either (Although Blumhouse came on board Obsession as a producing team after Focus Features acquired the film out of TIFF while they were involved with Get Out from the start).
In the case of Sinners, which made one of the biggest box office and critical success stories of 2025, that film helped drive home the fact that horror is much more than schlock and cheap gags. Like a film like Get Out before it, Sinners spoke to a real experience that used the horror genre as a backdrop to tell a deeper story. Sinners carried that all the way to a record-breaking 16 Academy Award nominations, including Best Picture. While Obsession won’t pull in that many, it’s certainly worthy of a spot for top honors when it’s all said and done, because like the other horror films that have earned Best Picture nominations, it’s a multi-faceted experience that isn’t defined by the trappings of the genre. It transcends them.
Other Possibilities
Obsession could find itself campaigned in other categories with some appearing to be a sure thing depending on competition while another feels like more of a long shot. There are technical categories where the film completely shines, especially given its budget, while Johnston’s performance as Bear, although overshadowed a bit by Navarrette’s epic turn, is worthy of praise.
Taylor Clemons’ cinematography is especially top-notch and walks in lockstep with Barker’s direction. The use of shadows and composition of certain shots leads to some of Obsession’s best moments, and that is thanks in large part to Clemons’ work. This is a movie that will see itself competing with films like The Odyssey for Best Cinematography, but a bigger budget isn’t the only thing that determines a film’s standout visual aesthetic. Clemons was able to do a lot with very little.
Another potential nomination could come in Best Original Score for Rock Burwell. Obsession’s score isn’t overpowering, but it does add a little something to the film that enhances some of the movie’s scenes. In some cases, it seems to allude to “meet cute” rom-com scores, while other times it plays into the tension being displayed on screen without drawing too much attention away from it. It’s a solid piece of work that should be acknowledged for its simplicity.
Lastly, there’s the film’s male lead, Michael Johnston, whose betrayal of Bear makes the film in its own right. It’s a tough role because he has to convey the innocence of Bear and his longing for Nikki, which makes the audience want to be on his side, and then he has to try to keep the audience there once Bear becomes fully aware of what this wish has done to her. Navarrette has rightfully garnered a lion’s share of the attention, but Johnston holds his own in scenes with her and creates strong moments that elevate the film as well. Bear might be the villain in the eyes of some moviegoers, but Johnston’s performance has made people positively take notice. A Best Actor nomination is a long shot, especially with what could be stacked competition, but maybe the “One Wish Willow” can work some magic.
Obsession is nowplaying in theaters nationwide.
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