Reported by 3 sources

The short version

  • Obsession, directed by Curry Barker, became a major box office success this summer alongside similar films like Backrooms.
  • The film utilizes analogue props and pre-digital settings to enhance horror elements, contrasting with modern minimalist aesthetics.
  • Critics note that older technology provides the visual texture and shadows necessary for effective suspense in horror genres.

The indie horror film Obsession has emerged as a significant cultural phenomenon this summer, grossing hundreds of millions of dollars at the box office. Directed by Curry Barker, a Gen Z filmmaker who first gained prominence on YouTube, the movie has attracted large audiences of younger moviegoers. Its commercial success mirrors that of another recent hit, Backrooms, directed by Kane Parsons, suggesting a broader shift in audience preferences within the horror genre.

A defining characteristic of Obsession is its deliberate use of analogue aesthetics and obsolete technology. The film’s production design plunges viewers into a pre-digital era, featuring characters who work at a mom-and-pop music store and drive vintage station wagons. This retro setting is not merely stylistic but functional, providing the visual texture that modern minimalist environments often lack. As noted by The Guardian US, contemporary sleek designs offer few hiding places for suspense, whereas older settings are rich with shadows and creaking floorboards.

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The plot of Obsession centers around a kitschy, old-fashioned gag gift, further embedding the narrative in a bygone time. This focus on tangible, physical objects contrasts sharply with the digital cloud-based existence of modern life. By removing smart home devices and compact speakers, the film creates a world where every object has weight and presence, enhancing the eerie atmosphere essential to horror storytelling.

Critics have highlighted that Obsession is more than just a standard horror film. Awards Daily described it as having depth beyond genre conventions, contributing to its widespread appeal. The Buzzmeter analysis suggests that the film resonates with audiences on multiple levels, combining traditional scares with thematic richness. This multifaceted approach has helped it stand out in a crowded market of summer releases.

The trend toward analogue horror is evident in other recent films as well. Backrooms features characters hawking self-help cassette tapes and adjusting fuzzy TV signals, activities that have largely disappeared in the high-definition era. Similarly, Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma blends past and present by following a director trying to reboot an 80s slasher franchise. These films collectively demonstrate a growing fascination with retro settings among contemporary filmmakers.

The functional reason for this aesthetic choice lies in the nature of horror itself. Haunted houses require clutter, weird hatstands, and creepy portraits to build tension. Modern interiors, often characterized by Scandinavian minimalism and rounded edges, lack these elements. As The Guardian US points out, there is nothing lurking around squeaky-clean corners, making it difficult to sustain suspense. Older environments provide the necessary visual complexity for horror to thrive.

Curry Barker’s direction in Obsession exemplifies this trend effectively. By leveraging his background in online content creation, Barker has crafted a film that appeals to digital-native audiences while immersing them in an analogue world. This juxtaposition creates a unique viewing experience that bridges generational gaps in media consumption. The film’s success indicates that there is a strong market for horror that challenges the dominance of modern aesthetics.

The production locations also contribute to the film’s authentic retro feel. While specific filming sites are detailed in location guides, the emphasis on practical sets and props ensures that the visual style remains consistent throughout. This attention to detail helps maintain immersion, allowing viewers to fully engage with the story without being distracted by anachronistic elements.

As the summer movie season progresses, Obsession’s impact on the horror genre is becoming increasingly clear. Its financial success and critical reception suggest that audiences are eager for films that offer both nostalgia and genuine scares. The trend toward analogue horror may continue to influence future projects, encouraging filmmakers to explore the potential of obsolete technology in storytelling.

Looking ahead, the legacy of Obsession will likely be measured by its ability to inspire similar works. If other directors follow Barker’s lead, we may see a resurgence of retro-themed horror films that prioritize texture and atmosphere over digital effects. This shift could redefine the genre, offering fresh perspectives on classic tropes while appealing to new generations of moviegoers.

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