Let’s talk about the curious case of ‘Obsession’—the film that’s currently being hailed as the ‘new Exorcist’ by a generation desperate for a horror classic. But here’s the thing: calling it a classic feels like calling a TikTok trend ‘timeless.’ It’s a fascinating paradox, isn’t it? A movie that’s generating massive buzz, breaking box office records, and sparking debates about what defines a cinematic masterpiece… yet somehow missing the mark in ways that feel glaringly obvious when you step back. Personally, I think this says more about our current cultural moment than it does about the film itself.
The Exorcist’s legacy is built on something far more elusive than shock value. It wasn’t just the demonic possession or the iconic head-spinning scene—it was the way it weaponized fear against the backdrop of societal anxiety. The nuclear family, religious doubt, the creeping dread of the unknown. It was a film that didn’t just scare you; it made you question the world around you. What makes this particularly fascinating is how ‘Obsession’ tries to replicate that formula but ends up feeling like a teenager awkwardly mimicking their parent’s walk. Yes, it has its moments—like the way it dissects parasocial relationships in the digital age—but it lacks the raw, unfiltered nerve of a true classic.
Let’s be real: the internet has trained us to confuse hype with artistry. ‘Obsession’ is a product of this era, where a viral marketing campaign can turn a modest indie film into a cultural phenomenon overnight. I mean, the film’s director, Curry Barker, even leaned into the ‘Gen Z horror’ aesthetic—think grainy night-vision shots of screaming teenagers, Letterboxd reviews as part of the marketing, and a plot that’s basically a TikTok thread turned into a movie. And sure, it’s entertaining. The performances are solid, the budget is a fraction of what it should be, and the gore is impressively low-budget. But entertainment isn’t the same as legacy. In my opinion, ‘Obsession’ is less a classic and more a mirror held up to our obsession with instant validation. It’s a film that’s screaming, ‘Look at me!’ while the real classics are whispering, ‘Here’s what it means to be human.’
What many people don’t realize is that true classics aren’t made by chasing trends—they’re made by creating them. Think about ‘The Wizard of Oz’ or ‘Citizen Kane.’ These films didn’t just reflect their time; they redefined it. ‘Obsession,’ on the other hand, feels like it’s borrowing from the playbook of a dozen other films. Its themes of digital-age romance and the dangers of projection are not new. Last year’s ‘Companion’ did this exact same thing, and it’s already forgotten. What this really suggests is that we’re in a golden age of ‘topical’ horror, but a desert of substance. If you take a step back and think about it, the fact that ‘Obsession’ is even being compared to ‘The Exorcist’ is both a compliment and a tragedy. It shows how hungry we are for something to revere, but also how low the bar has become.
There’s a deeper question here: Can a film that’s built on internet hype ever transcend its origins? The answer, I think, is no—not unless it somehow becomes a cultural touchstone in ways that go beyond the algorithm. ‘The Exorcist’ became a phenomenon because it tapped into collective fears that had been simmering for years. ‘Obsession’ is a symptom of our current anxiety, not a cure. It’s a film that’s more interested in being seen than in saying something meaningful. And that’s the rub. A detail that I find especially interesting is how quickly we’re willing to anoint new classics, even when the criteria for what makes a classic are still up for debate. Are we just desperate to find something to hold onto in an age of constant distraction?
In the end, ‘Obsession’ might be a fun ride, but it’s not a classic. It’s a snapshot of a moment, not a monument to something enduring. And that’s okay. The world needs both kinds of films. But if you’re looking for a movie that will outlive us all, you’ll need to look elsewhere. Because the real classics aren’t made by chasing trends—they’re made by defying them.
