Lionsgate’s biopic ‘Michael’ dominated the box office with an estimated $25M+ opening weekend, holding strong at 3,560 theaters — the film, starring real-life dancers, is projected to pass the $281 million domestic mark before slowing next weekend. Disney’s ‘The Devil Wears Prada 2’ held steady in second place with a $5M–$6M third Friday.

Surprising Box Office Performance for ‘Obsession’

Focus Features’ horror film ‘Obsession’ is expected to earn between $13M and $15M in its third weekend, outperforming initial projections, the film, starring Inde Naverrette and Michael Johnston, has 102.2 million social media followers across major platforms, according to RelishMix. That’s just below the social media reach of recent horror hits like ‘Longlegs’ (130.5M) and ‘The Black Phone’ (141.3M).

RelishMix described ‘Obsession’ as a “horror fandom pressure cooker,” noting that audiences are treating it as an indie horror breakthrough rather than generic Blumhouse programming, but the film’s social media buzz has helped it stand out in a crowded genre terrain.

Thematic Depth and Critical Backlash

Writer-director Curry Barker explained that ‘Obsession’ explores themes of consent and communication through a “tragic story” of a man and a woman, the film’s protagonist, Bear, wishes for his best friend Nikki to love him more than anything, but the supernatural wish spirals into obsession and horror. Barker emphasized grounding the story in realism, even as the magic element is accepted as part of the world.

Naverrette’s performance is particularly praised, as she portrays both the sinister spirit and the trapped Nikki. “Her character is both a villain and a victim,” said Barker. “It was important to show the emotional realism of the situation.”

However, the film has also drawn sharp criticism. In ‘Rolling Stone en Español,’ critic Juan Mendoza called ‘Obsession’ a missed opportunity. He described it as a “strange mix of YouTube sketch, TikTok horror, and camp comedy,” with no emotional or psychological coherence. “There is no recognizable human behavior, only exaggerated scenes and predictable deaths,” he wrote.

Mendoza noted that the film could have explored toxic love, desire paradoxes, and possessive relationships in a meaningful way. Instead, it leans into exaggerated horror tropes, including distorted smiles, eerie music, and over-the-top reactions.

Artistic Obsessions and Cultural Impact

While ‘Obsession’ has sparked debate among critics, it also reflects broader cultural conversations about obsession. In a separate context, Japanese artist Yayoi Kusama has explored the theme through her installation ‘Dots Obsession – Alive, Seeking for Eternal Hope.’ The piece, part of her ongoing fascination with dots, interacts with Philip Johnson’s Glass House to create a layered artistic experience. Kusama’s work, like the film, seeks to evoke emotion and provoke thought through repetition and immersion.

Meanwhile, in Germany, ‘Sortir à Paris’ announced that ‘Obsession’ will be released in German theaters on May 13, 2026. The film, rated for viewers 16 and older, follows a timid young man who discovers a magical object that grants wishes. His wish for love turns into a dangerous obsession, with the film exploring themes of desire, manipulation, and loss of control.

Barker’s background in YouTube collaborations and previous film ‘Milk & Serial’ positions him as a rising figure in indie horror. With upcoming projects like Blumhouse’s ‘Anything but Ghosts’ and A24’s ‘Texas Chainsaw Massacre,’ Barker is set to continue exploring complex psychological and emotional themes through horror.