By JAKE COYLE AP Film Writer
NEW YORK (AP) — Days before “Obsession” opened in theaters, its 26-year-old director, Curry Barker, made a bet with his manager and agent. They said if the movie opened above $20 million, they would all get tattoos.
“Obsession” fell just short. It debuted with $17 million. They were still thrilled. Barker made the horror film with just $750,000. It was enormously successful. But then something unexpected happened. The following weekend, “Obsession” easily cleared $20 million. And then it did again and again and almost a fourth time — an almost unheard-of staying power.
“It was just like: Holy cow. I didn’t think that was an option,” Barker says. “Now we’ve said if it hits $300 million, we’ll all get the tattoo. We had to make a new milestone. And I think we’ll reach it.”
Over the last month, “Obsession” has sent shock waves through Hollywood. Barker’s microbudget thriller has grossed $286 million worldwide, and it’s still going. On its fifth weekend in theaters, it was second only to Steven Spielberg’s “Disclosure Day,” with $19 million. In North America, it has outgrossed “Star Wars: The Mandalorian and Grogu.” It’s the biggest hit in the 24-year existence of Focus Features, which has had to postpone the video-on-demand release. It ranks among the most profitable movies ever made.
Barker, who built a following making sketches and short films on YouTube, is living out the dream of every aspiring filmmaker. Life, he granted in a recent interview, is different now.
“My day to day is pretty much the same. It’s just that when I go out in public, it’s a lot different,” he says, laughing. “I actually feel a little unsafe sometimes.”
That’s an ironic development for someone whose twist on an old Monkey Paw story has frightened moviegoers. In “Obsession,” Bear Bailey (Michael Johnston) wishes on an antique toy called a One Wish Willow that his crush, Nikki (Inde Navarrette), loved him. The spell — loosely inspired by an old “Simpsons” Halloween episode — works disturbingly well.
The astonishing success of “Obsession” has been hotly debated throughout the industry. Coupled with the A24 hit “Backrooms,” by 20-year-old Kane Parsons, it’s been a coming-out party for YouTube as a breeding ground for the next generation of filmmakers.
It’s also brought waves of Gen Z moviegoers — who already make up a promisingly robust percentage of frequent ticket buyers — into theaters. Summer has historically been dominated by legacy franchises, but “Obsession” may represent a sea change.
“If there’s a lesson from ‘Obsession,’ I think it’s about audiences,” says Peter Kujawski, chairman of Focus Features. “We have a generation that grew up online, approaches culture with enormous curiosity and playfulness, and is far less concerned with where a filmmaker comes from than whether the story connects. They’re engaged, incredibly film-literate and eager to champion new voices and original stories.”
From YouTube to the multiplex
Barker, who grew up in Mobile, Alabama, before moving to Los Angeles at 18, says he feels as though he’s writing for his generation. The response to “Obsession,” he says, taps into a collective need.
“I get it because I think we’re a little tired of being at home. Our generation is the COVID generation,” says Barker. “I was fortunate enough to have all four years of high school experience. My brother, Riley, lost two years of that. We’re sick of the phones.”
Barker wanted to be an actor before he wanted to be a filmmaker. And while his early exposure to “The Texas Chainsaw Massacre,” at age 11, helped set him on a horror path, he didn’t begin that way.
“I was a huge Harry Potter fan growing up. Huge. I was obsessed,” Barker says, smiling. “I had all the wands. I would dress up.”
Barker attended film school in Los Angeles for a year, where he met Cooper Tomlinson, a co-star and producer on “Obsession.” The two soon forged their own path, though, on YouTube and TikTok. Their comedy sketch series, “That’s a Bad Idea,” found a footing online.
Barker wrote and directed the 2023 short “The Chair,” which attracted the interest of Tea Shop Productions. Producer James Harris approached Barker about a feature of “The Chair,” but he instead wanted to make a film — “Obsession” — that drew on many of the same ideas. Meanwhile, Barker also made an $800 found-footage horror film, “Milk & Serial.” After failing to secure distribution, he simply uploaded to YouTube. It went viral and landed him an agent.
“Obsession” was selected to premiere at the Toronto International Film Festival last year, giving it an enviable platform. After a bidding war, Kujawski and Focus acquired it for $15 million.
“What stands out about Curry is that he isn’t working from an inherited playbook,” says Kujawski. “Whether you look at his earlier work or ‘Obsession,’ there’s a consistency of vision and a confidence in his storytelling that immediately sets him apart. He knows exactly what he wants to say while being absolutely committed to making every minute of his work as entertaining as possible, and he’s willing to take real risks in service of that vision.”
More ‘Obsession,’ but other projects first
Barker’s swift but hard-earned rise has made him the poster boy for a new brand of filmmaker, one who has honed his craft as a digital creator and arrives with an established fan base. Jason Blum, the chief executive of Blumhouse Productions, has compared Barker and company to the 1970s wave of American auteurs, “making edgy movies that are connecting in theaters in a crazy way.”
“When you really step back, my journey is not really that different than Christopher Nolan or David Fincher or Steven Spielberg,” Barker says. “You can watch their early short films and see their work before they were given a chance. I think YouTube is just a path, a platform we can use now to show the industry what we’ve got.”
Now, Barker is one of the most in-demand filmmakers in Hollywood. He has already shot his next feature, “Anything But Ghosts,” starring Aaron Paul and Bryce Dallas Howard, for Blumhouse. Two months ago, A24 announced that he will write and direct a reboot of “The Texas Chainsaw Massacre.”
All the attention has taken some getting used to. Filmmakers like Ari Aster and Zach Cregger and even Spielberg have reached out to compliment Barker on his film.
“That’s when you start to feel this impostor syndrome of like: What? It’s not that good,” Barker says, laughing. “All I see when I watch ‘Obsession’ is the problems.”
An “Obsession” sequel is, naturally, a certainty. “A sequel isn’t hard for this movie,” grants Barker. He sketches out how new wishes by other characters on One Wish Willows could lead to entirely different stories, all revolving around some new vice: greed, fame, whatever.
But as much as it’s tempting to see “Obsession” as the product of Barker’s own wish, it’s more like the opposite. In the film, Bear’s profound mistake is putting off confessing his feelings to Nikki, thinking there’s plenty of time to do it. (The movie immediately cuts to a dead cat.) Barker, on the other hand, had no timidity about realizing his dreams. He wanted to make movies, so he did.
“Anyone that asks what advice you have for young filmmakers, I always say the same thing,” says Barker. “I went to a film school for a year out in L.A. and I watched people paralyze themselves with the pressure of: I’ve told people I’m a director so now I have to direct something that has to be good. If it’s not good, everyone’s going to judge me. The result of that thinking is two years on one short film.”
“You can’t put too much pressure on an idea,” adds Barker. “You just got to make it.”