Premiere: September 6, 2025 (Toronto International Film Festival - Canada) Country of origin:USA Director:Curry Barker Writer:Curry Barker Production Companies: Capstone Pictures, Tea Shop Productions, Under the Shell Distributed: Capstone Global Genre:Drama, Psychological Horror Runtime:1h 48min Starring:Michael Johnston, Inde Navarrette, Cooper Tomlinson
My guess is that many people reading this have felt rejection at some point. Some may even recognize the darker thought that follows it, the idea of wanting someone to love you completely and only you. That is not a healthy place to stay in, but it is a very human starting point.
That is where Obsession begins.
Before getting into the film itself, it is worth noting the production context. The film was made on a very small budget with a largely unknown cast and crew. After its unexpected success there has been discussion about compensation for those involved. My view is simple. Agreements made before production should be respected. If extra rewards are given after success, that is a gesture of goodwill rather than an obligation.
In this film we follow Barren (Michael Johnston), a young man deeply in love with Nikki (Inde Navarrette). The story builds around a wish that feels like a darker mirror of the concept seen in the movie Big (1988). In that film the wish is playful. Here it becomes something far more dangerous. Barren wants Nikki to love him above everyone else in the world. This wish comes true and what follows is where the film changes shape completely. The romantic tone collapses into full on psychological horror.
What makes it stronger is that the film lets you feel both sides of the situation. You understand Barren’s obsession, you also feel Nikki’s fear and loss of control. That dual perspective makes the emotional impact heavier.
Barren is played with strong emotional intensity. His performance carries a quiet instability that builds rather than explodes. There is a magnetism in how he moves and how he speaks, that reminded me of Jake Gyllenhaal. It is not about imitation, but about that same controlled intensity that slowly pulls you in.
Nikki becomes increasingly unsettling as the story progresses. It is not only what she does but the shift in presence that makes her feel unpredictable. At times she feels like a victim of the situation, at other moments she feels almost detached from normal behavior in a way that is hard to read. Inde Navarrette delivers a performance that feels controlled and unsettling throughout, especially in how her character shifts between vulnerability and something harder to define.
As the film moves toward its later stages it does not hold back. There are scenes of intense gore that are brutal and very explicit. This is not a film that softens its impact.
One of the most interesting choices is the music. Even during tense moments the score often stays calm. That contrast creates discomfort because what you hear does not match what you see. It reinforces the feeling that something is wrong beneath the surface.
What surprised me most is how real the film feels. There is no constant reminder that it is a low budget production. The pacing holds attention from start to finish. I was fully locked in throughout the entire experience. The lighting also deserves mention. Nikki is often framed with parts of her face hidden in darkness. That simple choice adds unease and strengthens her presence in many scenes.
Overall this feels like a modest horror film that delivers far beyond expectation. Strong performances, confident direction and a consistently unsettling tone carry it throughout. It fits naturally within the type of horror films associated with Blumhouse.
I initially assumed Blumhouse had a direct production role because of the branding at the start and the overall style of the film. However, when checking the credits, the production companies are Capstone Pictures, with Jason Blum listed as a producer. That clarified the situation and explained why the association felt stronger than the actual credit structure.
This film starts as something familiar. It ends as something far more disturbing. The core message stays clear throughout: be careful what you wish for. This was a fully engaging experience from start to finish. 10/10
Premiere: August
23, 1991 Country of origin:USA/UK Director:Kenneth Branagh Writer:
Scott Frank Production Companies: Paramount
Pictures Distributed: Paramount
Pictures Genre:Drama, Thriller Runtime:
1h 47min Starring: Kenneth Branagh, Emma Thompson, Andy
Garcia
I have not seen that much of Kenneth
Branagh outside the three Poirot films, all of which are very well
made. His performance in those is very strong, especially in how he
carries the character and directing with detail and control. I have
also seen his work in Frankenstein, which was solid.
It is very impressive to see how much he handles in this film. He
is not only acting in a dual role but also directing the entire
project. That level of control over both performance and structure is
rare, I would say and it shows in how tightly the film is
constructed.
At its core, the story seems simple at first. A black and white
1940s murder case involving the Strauss, where the husband is
suspected of killing his wife. But very quickly it becomes unclear if
it is really that simple. In present time, detective Mike Church
(Kenneth Branagh) is helping a young woman (Emma Thompson)
with no clear memory of who she is. The question slowly grows, is she
connected to the events from the 1940s, or is something else going
on?
This story is full of twists and turns. The more you try to
analyze it, the stranger it becomes. It plays with perception in a
way that keeps shifting what you think is real.
One of the strongest parts is the 1940s setting. It feels very
authentic, how it is framed, paced, the lighting, the camera movement
and the dialogue rhythm all feel like they belong to that era of
movie making. It does not feel like a modern film imitating the 40s,
it feels like stepping into a movie from that era.
The mystery structure is also the main strength. Hypnosis, memory, identity and past reconstruction create a strong “guessing game” effect, where you are never fully stable in what you believe. It constantly shifts what feels like fact and what feels like interpretation, so you are always re-evaluating earlier scenes in a new light. Just when something feels solved, another layer appears that reframes it again, keeping the viewer in a constant state of uncertainty without ever fully locking into a single explanation.
The cast also adds a lot to the experience. One of the really fun
parts of going back and discovering older films like this is suddenly
recognizing actor after actor showing up. You start noticing, “wait,
I know that person,” then another appears and another. It slowly
turns into a full surprise star gallery filled with actors you
recognize from later famous roles and productions. That makes the
movie even more enjoyable to revisit and analyze today.
Kenneth Branagh as Mike Church/Roman Strauss
The
detective figure gives a grounded performance that anchors the chaos
of the film. His gradual descent from control into confusion becomes
one of the strongest parts of the tension. Then the music composer
Roman Strauss in the 40´s. It is also truly amazing to see Kenneth
Branagh handling such a complex dual role while also directing the
movie. That level of control over both performance and filmmaking is
honestly very impressive.
Emma Thompson as Grace / Margaret Strauss
Emma
Thompson does a fantastic job with her dual layered performance as
well. She carries the emotional instability of the story very
naturally, shifting between vulnerability, confusion, fear, and
mystery. Since the film constantly plays with identity and
perception, her performance is essential in making the audience
question what is really happening.
Andy García as Gray Baker
Andy García’s character
is very well structured and well played too. Baker becomes an
important pressure point within the mystery, especially in how
information slowly unfolds around him. García gives the role a calm
but emotionally loaded presence that works very well within the noir
inspired atmosphere of the film.
Robin Williams plays the hypnotist Dr. Cozy Carlisle. His
role is interesting and memorable, but feels more like a thematic
guide than a core part of the main plot. Though the story would still
function without him in a structural sense.
Some honorable mentions.
Wayne Knight appears in a noticeable role and while not central to the story, he adds texture to the world and contributes to the unfolding suspicion and public perception around the mystery. He is a very recognizable actor from roles such as Seinfeld and Jurassic Park.
Raymond Cruz shows up very, very briefly as the Supermarket Clerk. It is only a tiny scene, maybe five seconds long, but I recognized him almost immediately even though the shot is a bit blurry. That actually sent me off on a side track looking through his IMDb page, which was fun in itself. Wait he is in Gremlins? Fun. Some years later he would become more widely known for modern crime and gangsta style roles in film and TV shows.
Another small role that stood out was the late Lois Hall,
who plays the first nurse we see early in the movie. She had a very
long acting career going all the way back to the 1940s, which fits the atmosphere of this film perfectly.
There are of course more recognizable faces throughout the movie,
but these were some that stood out the most to me this time around.
This film sure was really interesting and good, the tone stays consistent throughout, balancing noir atmosphere
with psychological tension. The pacing builds steadily.
I rate it a solid 9/10. In the end, it is less about
solving a simple murder mystery and more about watching how
perception, memory and suggestion can reshape reality itself.
ps. If you come this far and read, look at the poster at the top again, did you only see the female? Look again.
A day of small spaces, shifting realities and shared film moments.
The third edition of Day of the Visionaries took place this day.
Final preparations were completed just in time before arrival. Three
people at setup, with a few additional guests arriving shortly after. A sound check was done using random K pop playback, which
confirmed that the audio system worked correctly. The program
featured works from Sweden, Japan, Spain and Azerbaijan, along with a
David Lynch inspired lottery segment, drinks, candy and pizza.
Everything was ready.
Film 1: Doften av ett band - (SMELLSCAPE) - (2026, Sweden) By Mattias Eliasson Length: 1h
After a short introduction by Mattias, That you can watch here:
Now everything was set in
motion and the day opened with the first film. The film is a music
documentary focusing on a punk/hardcore band. Going in, the
expectation was a straightforward portrait of a band and its music.
What unfolds instead moves in a different direction.
While rehearsals, performances and live moments are present, the
film gradually shifts toward the personal lives behind the music. The
members appear as middle aged musicians balancing work, family and
everyday responsibilities while still trying to keep the band active.
This shift creates a slower, more reflective tone than a
conventional music documentary. As it progresses, the identity of the
band becomes less central and attention moves toward relationships,
persistence and the reality of sustaining creative work over time.
After the viewing, there was some discussion about the band’s
name, which is not clearly stated in the film. Some visual cues
appear in rehearsal spaces and locations, but nothing fully confirms
it during the film itself, what any of us noticed anyway.
Later research suggests the band is called
Shitsame, a local group connected to Vimmerby, Hultsfred and
Stockholm.
Overall rating: 6/10 The documentary leaves a thoughtful impression. It does not
function as a straightforward band portrait, instead leaning into
ambiguity and everyday realism, which invites reflection rather than
clear conclusions.
Film 2: Notch: Ep 04 - Mabito (2025, Japan) By: James
Webb Length: 23min
First we got a Statement from the group explaining there idea of
there anthology show Notch. This focus shifted now to Japan, featuring a short film titled Mabito from an
anthology project associated with a group using the name James
Webb.
Here the tech started messing, after the file I had
downloaded from YouTube started to lag for some reason, we looked at
it on YouTube, that worked fine.
The story follows a unit of soldiers moving through a forest
during the Second World War. What begins as a straightforward wartime
setting gradually introduces a more uncertain presence within the
environment. The forest feels active in a way that goes beyond
geography, suggesting something unseen moving alongside the group.
The film relies heavily on atmosphere. Sound design plays a major role in shaping tension, using
subtle environmental audio to build a sense of unease. The visual
approach is restrained, with attention to movement through space and
the gradual build of psychological pressure.
A comparison can be drawn to Deathwatch (2002), particularly in
how isolation and fear develop inside a hostile environment. Both
films use enclosed natural spaces as a form of psychological trap,
where the real threat is never fully defined.
Overall rating: 8/10 Mabito stands out through its controlled pacing and strong
technical execution. The cinematography supports the mood
effectively, with a consistent focus on distance, silence and
uncertainty.
Film 3: Videohead (2026, Sweden)
By - Robin
Andersson Length: 8min
The third film began with an extended introduction from
director Robin Andersson, who framed the short as a tribute to the
videocassette format and its cultural influence. The presentation set
up expectations of a retro inspired experience centered on analog
media and physical tapes. Watch his introduction here:
The film follows a young woman who receives a mysterious cassette.
From there, the narrative moves into increasingly unstable territory,
blending experimental horror elements with a stylized retro
aesthetic. The tone leans into 1980s inspired visual language, where
analog texture, distortion and mood driven pacing take priority over
conventional structure.
Partway through the screening, playback was interrupted due to a
technical file issue. The film could not continue normally at that
moment, which forced an early stop in the viewing. This created an
unintended break that left the audience with an incomplete first
impression. At that moment I did not know it existed on YouTube also.
This was the last frame that was seen at the event from this short sadly.
Later, the remaining portion was viewed separately for this blog article. The second
half escalates into more chaotic and surreal territory, pushing
further into experimental horror and fragmented narrative structure.
The transition from the earlier section to this part feels abrupt,
almost as if the film deliberately abandons coherence in favor of
tonal expression and visual experimentation.
There is a noticeable shift between the more grounded opening and
the later abstract progression, which gives the film a dual identity.
The initial stopping point would have worked as a strange but
contained conclusion, while the full version expands into something
more unpredictable and unrestrained.
At moments it lands in a strange space somewhere between Ringu
(1998) and Darkman (1990) energy, where familiar horror logic
dissolves into something more distorted and reactive.
Overall rating: 6/10 A playful, experimental work that
embraces imperfection and ambiguity, with a strong emphasis on sound
design and visual atmosphere rather than narrative clarity.
Robin
also help me write some of the reviews here that you might have seen.
Check out his own site here: https://filmfett.wordpress.com/
Film 4: NO ME SUELTES (Don’t Let Me Go) - (2025, Spain)
By: Lia Montsu Length: 5min
Next film is from Spain, created by film student Lia
Montsu. The
short is inspired by a visual reference from Junji Ito’s
manga The Long Hair in the Attic(1988).
Maybe this panel.
The film presents a simple but striking scenario. A young woman
appears trapped, her hair physically bound to a wall, while another
woman attempts to help her escape. The setup is minimal, but the
emotional weight is carried through movement, framing and atmosphere
rather than dialogue.
Shot in black and white, the film develops a timeless quality that
enhances its poetic tone. The visual choice removes distractions and
places full focus on texture, contrast and physical tension within
the frame. The result is a piece that feels closer to a moving
illustration than a traditional narrative short.
What stands out most is the restraint. The concept is not expanded
into explanation or background, but instead allowed to exist as a
fragment of a larger implied world. This creates a lingering effect
after viewing, where the situation continues to resonate without
clear resolution.
Overall rating: 6/10 There is a sense that this material could support a longer form
adaptation, where the emotional and symbolic elements could be
expanded further. Even in short form, it leaves a strong impression
through its visual simplicity and thematic focus.
The atmosphere shifted into
something more informal and relaxed compared to the screenings
earlier.
The segment was a lottery draw by David Lynch. A YouTube playlist
he had created during the pandemic. Random selection turning it into
a kind of unpredictable draw mechanism. Numbers were pulled in sequence from this setup, the process was
simple but carried a sense of anticipation because of its completely
random nature.
What happened during the draw was crazy. The number 10 appeared
three times in a row, so the all the prize ended up going to a single
participant that by luck had this numbers as wining numbers. That was an unplanned twist.
Here the program paused for a short break. The timing landed well, giving
space to reset before moving into the later part of the evening. Food
arrived from Dana Pizzeria, which added a welcome change of pace to
the screening. The delivery turned into a shared moment. Thanks so
much to Dana Pizzeria for sponsoring this event, it helps a lot.
Taste good too.
Film 5: Aporia Kiyamet Deneyi (Doomsday Experience) - (2019, Azerbaijan)
by Rec Raven Length: 1h 26min
The final film of the evening brought the audience into a
part of world cinema rarely represented, a
horror film from Azerbaijan directed by Rec Raven. Title roughly
translates to “Doomsday Experience”
Part of the fascination surrounding the film came from simply
experiencing a movie from a country many viewers knew very little
about. Several attendees were unsure where Azerbaijan was
geographically located, which became part of the discussion
surrounding the film itself. The country sits west of the Caspian
Sea, below Russia and above Iran, positioned in a region that rarely
reaches international horror audiences.
The version screened at the event had been dubbed into Turkish,
reportedly to help the film reach a larger market.
The story follows a group of people taken hostage under brutal
circumstances. During an attempted escape, two characters end up
trapped inside a long narrow pit/ bunker, where much of the film then
unfolds. From that point onward, the narrative transforms into a
confined survival horror story focused on desperation, fear, and the
struggle to escape.
One of the film’s strengths is how it maintains tension despite
the limited environment. Creating atmosphere and momentum in a single
confined location is difficult even in short films, yet this
production manages to sustain interest across a full feature length
runtime. The hostage scenes are intense and at times extremely
brutal, adding a harsh realism to the horror elements.
The film also contains several effective gore effects that help
reinforce the physical danger surrounding the characters. Rather than
relying purely on shock, the horror grows from the feeling of
entrapment and uncertainty.
Overall rating: 6/10 for intensity, confined storytelling and the
uniqueness of seeing horror cinema from Azerbaijan.
Another thing that was happening in the shadows of the event was this camera was making a round around the area, it is an anti digital camera, that is digital, but you can not see on the back what photo was taken, it has no display, all is saved on a memory card for viewing later. I am in the making of a longer article about it so stay tuned for that. Not so many photos was taken sadly, but here are some that was taken at the event by those attending.
One thing I like with this camera is the 90´s era felling over it.
THE END
The throughline becomes surprisingly clear when looking back at the
program as a whole. Even without planning it, the selection of films
ends up circling the idea of confinement in different forms.
The opening documentary places its focus inside a limited social
space, where the “band” exists less as a public identity and more
as a small, contained struggle to keep something alive within
everyday life. The Japanese short pushes that idea into a physical
environment, where movement through a forest becomes a controlled,
enclosed experience shaped by unseen pressure.
The Swedish short takes confinement into a more stylized
direction, narrowing everything into a single object and perspective,
almost like a sealed narrative space where meaning has to be
extracted from limited fragments. The Spanish film reduces it even
further, holding the entire emotional weight inside one static
situation, a single visual problem that never expands outward.
The feature film from Azerbaijan, then pushes confinement into its most literal
form, trapping its characters inside an underground space where
survival and tension are built entirely from restriction. Even the
closing lottery segment, shaped through David Lynch inspired
randomness during a period of isolation, fits into the same pattern
of constrained conditions producing unpredictable outcomes.
Seen together, the program starts to feel less like a collection
of unrelated works and more like variations on a shared condition:
people, spaces, or ideas placed under limits and forced to evolve
within them.
Against that, the presence of the Paper Shoot camera becomes
almost the opposite gesture. It moves freely through the room,
capturing moments outside the films themselves, outside the
structured confinement of the screenings. It acts like a small breach
in the concept, documenting the people watching the constraints
rather than the constraints themselves.
That contrast gives the evening its final shape. The films explore
restriction from different angles, while the camera quietly records
what exists beyond that shared frame.
Overall an okay event for it being on a Sunday. Next event is planed for Nov, let´s see how that goes.
Thanks to : Studiförbundet Vuxenskolan Dana Pizzeria Direkten Nöje
Then also thanks to those that attended the event this time.
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