Obsession has achieved its desires and more as the horror film from 2025 has set a new record as the highest-grossing movie despite having a modest budget of $750,000 USD. The film, directed by 26-year-old Curry Barker, made its debut at the Toronto International Film Festival in September and later hit theaters on May 15. Since then, it has consistently performed well at the box office, raking in over $245 million domestically and more than $158 million internationally, bringing its total earnings to just over $403 million USD. This surpasses the 1973 martial arts classic Enter the Dragon, which cost $850,000 to produce and has earned $400 million over various re-releases, all figures considered pre-inflation.
After a successful festival run, Focus Features acquired the film for around $14 million USD, making it the most profitable venture in the company’s 24-year history and one of the most lucrative films ever produced. Due to its theatrical triumph, the video-on-demand release was postponed, with the film hitting streaming platforms on June 30 and scheduled for release on Blu-ray 4K and DVD on July 14.
Obsession narrates the tale of Bear (portrayed by Michael Johnston), a socially awkward young man grappling with unreciprocated feelings for his friend Nikki (played by Inde Navarrette). Chaos ensues after Bear makes a misguided wish using a “One Wish Willow” for Nikki to love him more than anyone else, leading to unforeseen and gory consequences.
The success of Obsession coincides with the rise of another horror film, Backrooms (2026), directed by 20-year-old Kane Parsons and inspired by a series of YouTube videos. This has sparked discussions within the industry about the emergence of Gen Z filmmakers and their ability to attract younger audiences to cinemas.
Michael Stasko, a filmmaker and professor at the University of Windsor, attributes Obsession’s triumph to its concise and captivating screenplay. He notes that the film stands out by incorporating multiple elements seamlessly, such as world-building intertwined with engaging dialogue, scares complemented by visual intrigue, and character development.
Barker’s dedication to his craft is evident through his years of content creation on his YouTube channel with collaborator Cooper Tomlinson, who also stars in Obsession. With approximately 1.5 million subscribers, Barker’s organic audience growth highlights the shift in distributor expectations, favoring filmmakers with existing followings.
Experts like Ernest Mathijs from the University of British Columbia recognize the impact of Barker and Parsons, both originating from YouTube backgrounds, on the filmmaking landscape. Their proficiency with the medium and accelerated learning curve set a new standard for aspiring filmmakers.
As Obsession continues to make waves, Barker is already working on his next horror project, Anything But Ghosts, set in the same universe as Obsession and scheduled for release next year. Additionally, he is lined up to helm a remake of The Texas Chain Saw Massacre and is contemplating a series based on wishes gone awry.
The influence of Obsession is expected to transcend the screen, likely becoming a topic of discussion in academic settings as it reshapes traditional filmmaking approaches.