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gia. 18. lesbian. white.
i sometimes post disturbing content (cannibalism, incest, murder, gore, abuse, etc.). i am interested in these things in art and fiction, if youāre into any of this shit in real life stay away from me
i post about film + obscure art + poetry + feminism + history + zines + (gothic) horror + gay subtext + tragedy + complex characters and dynamics + nuance + ambiguity + the ways in which history, culture, and politics influence art and vice versa + the political and economic state of the world rn + more
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(my dni pertains to commenting, sending asks, following, etc. iām not gonna hound anyone for liking or reblogging stuff)
dni: 15 and under, anti-feminists, āprolifersā (forced birth enthusiasts), proana/coquette/girlblog people, fans of real school shooters/murderers/rapists/whatever, people who say things like āthe curtains are just blueā or āitās not that deepā, stupid and/or annoying people
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the fact bear only tried to cancel his wish after being told he couldnāt alter it (and, seemingly, because he was uncertain about how real nikkiās love actually was) - instead of wanting to do that from the start, as soon as it was clear that something was wrong with nikki - makes me so, so devastated for her. itās clear he was more concerned with what he was getting out of the wish, rather than the detrimental effect it was having. and like, everyone could tell something was up with nikki, itās not as if it wasnāt clear. him hanging up the phone as soon as nikki is out on the line (screaming) is so symbolic of how he is completely ignoring how he is ruining her life throughout the film
I think the thing that is the most disturbing to me about Obsession is just how quickly it becomes totally clear that Bear not only never loved Nikki, but that he never even liked her.
In the little time we spend with Nikki before she becomes possessed āfreakyā Nikki, Obsession goes to great lengths to establish Nikki as a person.
In just the first 15 minutes of the film, we learn that Nikki loves writing, sheās laid back, and that she cares very deeply for others. We see that sheās funny, she likes to gently tease her friends and joke around. She has ambition and wants to pursue her writing seriously. She has her own goals and thoughts and opinions.
Sheās also characterized very well by her wardrobe, how she talks, her body language and expressions (courtesy of Inde Navarretteās absolutely STUNNING and brilliant performance).
In a VERY short amount of time, the audience is given a VERY clear picture of Nikkiās personality and usual behavior.
Which makes her ātransitionā into āFreakyā Nikki all the more horrific when Bear makes his wish.
Because even if we give Bear some grace, and acknowledge that he couldnāt have known that the One Wish Willow would do what it did, and even if we treat his kissing her on the first night she comes over as morally grey (although in my opinion he absolutely did take advantage of the fragile mental state he believed her to be in), there is no way to excuse Bear blatantly ignoring that Nikki changes so drastically from the person Bear claims to be in love with.
After the wish, Nikki starts speaking differently and using a higher pitched voice, she starts dressing completely differently and wearing more traditionally āfeminineā clothing. She suddenly drops her plan to quit working at the music store and pursue writing, she stops showing any care towards her other friends and the people in her life. She defers to Bear in every situation, with the only exception being any time Bear shows any sign of moving away from her emotionally (or physically).
After the wish, Nikki becomes a completely different person.
And Bear does not care or show any concern regarding this at all.
Everything that makes Nikki who she is, everything that makes Nikki, Nikki, is just gone after Bear uses the One Wish Willow.
And Bear couldnāt be happier.
We get a whole montage of Bear and āNikkiā as a āhappy coupleā hanging out together and ignoring everyone around them.
Itās not until Bear starts seeing actual consequences to his wish, such as āNikkiā causing a scene on their date or feeding his dead cat to him, that he begins to worry about her behavior.
And even thenāEVEN THEN!!!!āBear STILL adamantly refuses to accept that Nikki is not behaving rationally or how she used to in any way. While he eventually acquiesces to canceling his wish, he first tries to just āalterā it to make it so Nikki still loves him, but is just less intense.
He would rather use āNikkiā to satisfy his own desires and ego.
If Bear loved Nikki, hell, if he even just LIKED her for who she is, he would be horrified by āfreakyā Nikki. He would have recognized and acknowledge extremely early on in their relationship, that something was deeply wrong. He would know that the woman he was with was not Nikki.
But Bear would rather have a bootleg version of Nikki that he can feel validated by, than have an actual relationship of any kind with the real Nikki.
He does not love Nikki. He does not even like her.
He likes the idea of Nikki. He likes the image of Nikki that heās constructed of her, the image of her that only exists in his head.
He likes the fantasy of what Nikki would provide to him emotionally and physically.
From the beginning of the film, Obsession shows us exactly who its villain is. Nothing that āFreakyā Nikki does horrifies me as much as Bearās treatment of Nikki and his refusal to see her as an actual person with autonomy.
For me thatās the most disturbing element of Obsession. That the people you trust the most and care about may be so obsessed with the version of you theyāve created in their mind that theyāll actively ignore your personhood and autonomy.
God. Obsession is so fucking good. I love film. I love cinema. Thank you Inde Navarrette. Thank you Curry Barker. Film of the year, if god hates horror fans why do we keep winning.
I genuinely appreciate how obsession doesn't try to frame bear as morally grey but just fully leans into how deplorable he is. a lesser movie would have tried to give him redeeming moments along the way but no, at every single crossroads bear makes the wrong choice. when the customer service rep asks him if he wants to cancel his wish, he says no, and asks to alter it. when nikki, the real one, begs him to kill her, he asks her "if it would be so bad to love him", and right at the end, backs out of killing himself and tries to throw the pills up. he is the villain, not another victim, not a confused, cowardly boy, the villain.
if i think too hard about nikkiās experience in Obsession i feel physically ill. imagine one second youāre just walking up to your house after a night out, and then the next, youāre looking out of your own body, but youāre not longer in control. youāre a prisoner to a terrible, unnatural version of yourself that only exists because of a choice someone else made. when you scream, nobody listens. when you claw your way out for long enough to explain that this isnāt you, nobody listens. when you beg the man who trapped you in this situation to put and end to it, to set your free, he just. doesnāt. listen. and then when you do finally regain control, all your friends are dead, and you are covered in their blood. because of a choice someone else made
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I need to see it again to pinpoint the details but I really like how the opening scene of obsession (2026) is Bear practicing his confession with a diner waitress... like already you have a woman (who is not Nikki) fulfilling the role for her, saying the response she thinks Bear would like to hear, but the moment this woman gives her own opinion, offering genuine advice to Bear (something along the lines of buying Nikki something she likes, like her favorite candy, flowers, etc)... Bear disregards it... but then ends up using Ian's recommendation from this same conversation (calling Nikki "Freaky Nikki")... like god its all already right there
we are meant to enjoy life. we are meant to eat good food, listen to music, dance, laugh with our friends, be in company with other people, touch ourselves, touch each other, feel good. life is supposed to be great. despite what christians, capitalists, and fascists will have you believe.
It just goes on and on and on and on and on and on and on and on and on and on and on and on and on and on and on āāæįµ įµāæ įµāæįµ įµāæ įµāæįµ įµāæ įµāæįµ įµāæ įµāæįµ įµāæ įµāæįµ įµāæ įµāæįµ įµāæ įµāæįµ įµāæ įµāæįµ įµāæ įµāæįµ įµāæ įµāæįµ įµāæ įµāæįµ įµāæ įµāæįµ įµāæ
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god the pilot had the tone down. nat trips on acid pre-crash and sees her creepy classmate misty across the flames in a way that could just as easily be misty stalking her/the team from the outskirts as it could be a hallucination (i go back and forth on this all the time). then the bonfire turns into the fire from their cannibalistic rituals in the wilderness which seemingly implies that nat sees into the future for a moment but it could just be part of the nonlinear editing. pj harvey's eerie down by the water holds you by the hand and pulls you in deeper as the screen gets engulfed in flames. such a loaded and dualistic and tone-setting sequence. i want to live inside it
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