The breakout horror sensation has officially smashed $25 million at the Australian and New Zealand box office, with distributor Rialto Distribution celebrating a phenomenal theatrical run that has transformed the film into one of the biggest horror success stories of recent years.

Even more impressively, Obsession is now set to claim the title of the highest-grossing horror release across Australia and New Zealand in the last decade, cementing its status as a genuine cinematic phenomenon.

A Horror Event Audiences Couldn’t Resist

Great horror has always been built around shared experiences.

Whether it’s the collective gasp, nervous laughter or outright screams echoing through a packed auditorium, the genre has consistently delivered some of cinema’s most memorable theatrical moments; and Obsession has tapped directly into that magic.

Powered by exceptional word-of-mouth and an ever-growing legion of horror fans, the film has become one of the year’s true must-see theatrical events, demonstrating that audiences are still eager to leave the couch behind when a film offers a truly unforgettable experience.

For Kelly Rogers, CEO of Rialto Distribution, the achievement reflects both the enduring popularity of horror and the power of the theatrical experience.

“To see Obsession reach $25 million across Australia and New Zealand is an incredible achievement,” Rogers said.

“Horror has always been one of the most powerful theatrical genres, and audiences have embraced this film in a way few could have predicted. This milestone is a testament to strong word-of-mouth, passionate fans and the enduring appeal of seeing a truly terrifying story unfold on the big screen.”

Another Landmark For Rialto Distribution

While Obsession has become the distributor’s latest box office juggernaut, it also continues an extraordinary run of success for New Zealand-born distributor Rialto Distribution.

Long recognised as one of Aotearoa’s biggest champions of local cinema, Rialto has released more New Zealand productions than any other distributor, bringing 19 Kiwi films to cinemas over the past five years while consistently delivering record-breaking performances at the domestic box office.

Among those successes are Tenor: My Name Is Pati, which became the highest-grossing New Zealand film of 2026 to date with more than $1.19 million, Prime Minister, the country’s biggest documentary release in more than a decade, Muru, the highest-grossing New Zealand film of 2022, alongside acclaimed local releases including Not Only Fred Dagg, Bookworm and Sgt. Haane.

Together, these films showcase Rialto’s remarkable ability to connect New Zealand audiences with stories that matter—whether they’re homegrown dramas and documentaries or major international theatrical releases.

The Big Screen Strikes Back

At a time when streaming continues to dominate entertainment conversations, Obsession serves as another powerful reminder that cinemas still possess a unique magic.

Audiences are increasingly turning out for films that promise more than just another night of entertainment; they’re seeking genuine event cinema, shared experiences and unforgettable moments that can only be found in a packed theatre.

With Obsession now standing as the highest-grossing horror film released across Australia and New Zealand in the past decade, the film has firmly established itself as one of the defining theatrical success stories of 2026.

For horror fans, one thing is abundantly clear: fear has never been so profitable.

Image: Rialto Distribution

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After breaking the mysterious “One Wish Willow” to win Nicki (Indie Navarette), his crush’s heart, Bear, a hopeless romantic gets exactly what he asked for. However, he soon discovers that some desires come at a dark and sinister price.

Love Hurts… And Then It Possesses You

Following his rise on YouTube, Barker storms onto the horror scene with what may very well be the freshest and most frightening genre debut of the year. Obsession isn’t interested in cheap tricks or overproduced spectacle. Instead, Barker crafts a deeply unsettling descent into the horrors of twisted desire, obsessive love, and supernatural corruption, and the result is a film that feels genuinely dangerous. This is horror cinema stripped back to raw nerves, where every shadow feels wrong, every silence feels loaded, and every scene leaves audiences waiting for something horrifying to happen.

And when it does happen? It hits like a demonic freight train.

A Wish Straight From Hell

The premise itself is deceptively simple. Bear (Michael Johnston), an awkward hopeless romantic, discovers a bizarre novelty item known as the “One Wish Willow.” Half joke, half occult curiosity, the object promises to grant one wish to its owner. In a moment of desperation and longing, Bear wishes that his longtime crush Nikki Freeman (Inde Navarrette) would love him more than anyone else in the world.

The wish works instantly. And that’s when the nightmare begins.

What initially appears playful and romantic quickly mutates into something grotesque and terrifying. Nikki’s affection becomes increasingly obsessive, unstable, and deeply unnatural. Barker wastes no time dragging the audience into deeper waters, and with every passing scene the atmosphere grows colder, stranger, and more oppressive.

What makes Obsession so effective is Barker’s refusal to play by conventional horror rules. There’s no overreliance on CGI monstrosities or loud jump scares. Instead, he weaponises tension. Fixed camera positions linger just a little too long. Hallways feel suffocating. Conversations suddenly turn hostile without warning. And every moment Nikki appears on screen carries an unbearable sense that something is profoundly wrong.

The audience never feels safe, and Barker milks that discomfort masterfully.

Inde Navarrette Is Pure Nightmare Fuel

The real secret weapon behind Obsession is Inde Navarrette, who delivers one of the year’s most genuinely terrifying horror performances.

Initially introduced as the rebellious, punk-rock outsider whom Bear secretly idolises, Nikki transforms into something utterly monstrous once the curse of the ‘One Wish Willow’ takes hold. Navarrette’s performance evolves scene by scene into a portrait of escalating madness that becomes almost impossible to look away from. She doesn’t simply play “creepy”; she becomes unpredictability personified.

Every smile feels wrong. Every stare lingers too long. Every emotional outburst feels like it could spiral into violence at any second.

And Barker smartly never explains exactly what’s happening to her.

Is Nikki possessed by a demon? A witch? Some ancient evil attached to the Willow itself? Or is this simply obsession taken to its absolute darkest conclusion? Barker leaves the answers frustratingly elusive, and that ambiguity makes the horror all the more effective. The unknown is always scarier, and Obsession understands that perfectly.

Navarrette especially shines during two sequences that will likely become instant horror-fan talking points. The first is a deeply unnerving “sleep watching” sequence that transforms a simple bedroom moment into pure nightmare territory. The second, a painfully uncomfortable “drunk Jenga confession,” escalates from awkward reveal into absolute psychological terror prose with breathtaking precision.

By the time the film reaches its final act, Nikki has become a fully realised creature of chaos, and Navarrette’s performance descends into something feral, unpredictable, and utterly petrifying.

Horror At Its Most Original And Unhinged

What truly separates Obsession from the pack is just how original it feels. Modern horror often leans heavily on formula, but Barker refuses to hand audiences easy answers or familiar scares. Instead, he crafts a suffocating atmosphere where paranoia and dread slowly poison every frame.

The deeper Bear falls into his “perfect relationship,” the more horrifying the consequences become. Barker cleverly twists the concept of wish fulfilment into something deeply cursed, exploring the terrifying idea that getting exactly what you want might actually destroy you.

And perhaps most impressively, Barker understands restraint. He never over-explains the evil lurking beneath the surface. The film trusts audiences to sit with the discomfort, to question what they’re seeing, and to let their imagination fill in the blanks. That restraint gives Obsession a lingering quality that follows you long after the credits roll. This isn’t simply a horror movie designed to make you jump. It’s designed to infect your thoughts.

Final Verdict – A Freakishly Fiendish Watch

Obsession is one of the year’s most fiendish horror experiences: original, unnerving, and frightening in ways that genuinely get under your skin. Curry Barker announces himself as an exciting new horror voice with a film that feels fearless in its madness, while Inde Navarrette delivers a performance destined to haunt audiences for a very long time.

Sharp, satanic, and absolutely skin-crawling, Obsession is the kind of horror film that leaves viewers staring nervously into dark corners long after they leave the cinema. And trust us… you’ll be sleeping with the lights on after this one.

Image: Focus Features

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