Hacker Cinema
Obsession
2026 · Film · 109 min
Directed by Curry Barker
After breaking the mysterious "One Wish Willow" to win his crush's heart, a hopeless romantic finds himself getting exactly what he asked for but soon discovers that some desires come at a dark, sinister price.
6 positive3 negative8 neutralfrom 17 commenters
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18 comments on Hacker News
Agreed. Not to say there is no such thing as franchise fatigue, but fundamentally it’s about quality. The large studios expect us to just gorge ourselves on anything with a favorite logo or name on it like it’s a brand loyalty thing, but movies are about storytelling and emotional resonance. Odyssey made me feel things, so did Spider-Man, so did Obsession. Supergirl did not. Simple as that.
I stopped caring for a couple of years during the Marvel slop era. Lately me and my girlfriend have gone to watch movies like the Backrooms, Obsession, and that has reignited my interest in movie theaters. Even though the food is really overpriced, it's fun to watch a good film, eat some popcorn.
I'd say celebrities and creatives in general are often big offenders here too. Lots of actors/athletes/musicians acting like being good at what they do means they're also qualified to talk about science and engineering. And a lot of reviewers, documentary creators and specialist writers that decide to wade into discussions about topics they have no knowledge of/cover something they're new to, only to look ridiculously out of touch as a result.
See the Nostalgia Critic review of the Wall. Or the Alex Meyers review of Obsession.
I'm a screenwriter/producer attempting to working on a new kind of film studio. I love movies think they are the apotheosis of storytelling. Here's my analysis of the problems, as best I can.
1) Supply/demand. There's actually a shortage of quality movies relative to what the market will bear, one need only look at the occasional breakout hit like Obsession to see that it's possible to make a ton of money if you understand the demand signals.
2) Demand signals. Median age of someone with greenlight authority is ~62. In the 80s, there were 30-year-olds running entire studios. No disrespect to Boomers, but this business is about marketing cultural products and they have no idea about the culture. This also creates significant demographic headwinds in the job market.
3) Costs. Wages/COL are a part of it, as are unions, star power demand, and how companies like AAPL/AMZN can do streaming as a loss-leaders, which creates a lot of downward pressure. The biggest one is that in theatrical CAC > LTV. You can spend 2x your production budget on marketing and that investment evaporates the first week of showing – there's no real brand loyalty to studios/streamers, especially now that they've commoditized their IP and put it on rotation through the online platforms.
4) Originality. Franchises, sequels, and remakes were roughly three-quarters of 2025, and nine of top ten 2024 worldwide grossers were sequels. This is a result of local minima/risk arbitrage in the studio's portfolios, the bottom line is that people will still show up for a Spiderman movie even if its crappy b/c of the pre-aware IP and there's nothing better out there. There are wonderful exceptions to this of course, like Christopher Nolan and many indie films.
5) Politics. Hard to not deal with politics amidst the outrage cycle, but the easiest way to achieve that is to have a plurality of viewpoints – which you can get if you stop trying to bend beloved IP to contemporary politics and just make new shit!
> Obsession (2026) is another one that is doing amazing in China
I haven’t seen the movie yet but I’ve been a subscriber to the YouTube channel of Curry and Cooper [1] for a long time. I’m looking forward to watching the movie.
I wonder how many of the other people that went to see Obsession were already fans of Curry and Cooper.
[1]: https://www.youtube.com/@thats_a_bad_idea
I hear this a lot, but I observed this is no longer that simple.
Like Green Book (2018) made over US$70.7 million in China.
And one of the most popular films in 2021 was Hi, Mom (2021), made over US$785 million.
Obsession (2026) is another one that is doing amazing in China, absolutely beating high action films like Supergirl ($12 million and going vs less than $1 million)
I think it makes sense that historically American film focused on narrative based dramas and slow burn horror. Think of classic Hollywood hits such as Citizen Kane and Psycho. This is even apparent in the recent success of Obsession, which really follows strongly in the trend of Hitchcock, magical realism, human drama, psychological horror.
Compare this with historically successful Honk Kong films: Kung Fu Hustle, Police Story, Ip Man. I mean there are examples of Hong Kong films that are slow burn human dramas, like Chungking Express and Eat Drink Man Woman, and successful American action films like Diehard, but I think its clear that Hollywood film didn't start out with action movies, and Hong Kong film didn't start out with slow burn dramas, but adopted these genres afterwards; you could even claim that successful Hong Kong films like the Bruce Lee films of the 70s fueled the American appetite for action in the 80s, which was the most prominent era for that genre in the US.
As a corollary to this, it becomes clear that the Korean and Japanese film making industries are not as culturally distinct from Hollywood as Honk Kong film making is. For Korean film, the reason is obvious: Koreatown in Los Angeles is right next to Hollywood, in some respects is a part of Hollywood, and there are deep ties now between the Korean and American film making industries for that reason, and Korean-Americans have an overly high degree of representation in American media, and Korean productions often come to America to shoot (think of the end of Squid Games: it's almost certainly the case that they shot in LA because a producer has a cousin or something that works in Hollywood).
>Hollywood and the startup world enables nepo kids to lie to themselves and to the public about their "selfmade" status until they receive their ancestral Lordship from the King of England, and this fake meritocracy keeps everyone in line trying their best because one day you could be a billionaire, too.
What about the exceptions? Doesn't that disprove the theory? You mentioned Hollywood. There has been a lot of malaise the last few years that many of the new "stars" are just kids of existing famous actors. Hollywood is already a extremely tiny industry(Only about 6% of the actual LA economy).
Then comes along an independent movie like Obsession, breaks so many records and launching its star actress into an overnight rising star. This is a person who has no familial history in the industry and was walking dogs for a year and a half to pay rent because no roles were landing.
What I’m impressed by of late is that a lot of contemporary horror films (thinking of Weapons, Backrooms, Obsession) rely much more on a creepy mood than on gore to do their thing (which is not to say that they lack gore, but they don’t rely on it to the extent that horror films of the ’80s through '10s did (the Saw films probably being the apex of the splattercore aesthetic).
Even accepting that Project Hail Mary, Obsession, and Top Gun are "good movies" (which I completely reject), you're cherry-picking. The top three films of the year are Super Mario Galaxy, Michael, and The Devil Wears Prada 2.
No True Cinephile would enjoy a movie like Top Gun: Maverick, Obsession or Project Hail Mary.
/s
Top Gun: Maverick, Obsession, Project Hail Mary
Those movies might be good, but cinema are they not.
Cinema traditionally has meant movies like, À bout de souffle and Citizen Kane.
> Even cinema is dying and nobody seems to care that much.
Cinema is dying from mostly self-inflicted wounds though. They keep making movies (or re-making movies) with bad writing, bad stories, and unrealistic character development arcs that not many people want to watch.
Good movies have been rewarded in theatres. Top Gun: Maverick, Obsession, Project Hail Mary, etc. all had great box office sales when other movies around them flopped.
I am very annoyed by this with the recent surprise smash hit of the movie 'Obsession'. This is a new director made popular by his devoted fan base and they just announced the blueray. One director commentary, a tiny 'featurette' and then just the film.
I remember back in the heyday of physical media(2010s) directors like Edgar Wright took curation of physical media extremely seriously: Multiple commentaries by not only the director but with the cast, production crew, sound designers etc. Deleted scenes, multiple featurettes and even picture slideshows.
I wonder how much the design of Blueray menus is hampered by the tech choices used in the format. DVDs were video files that repeated with tiny overlays that the player would just draw. Bluray seem to be entire Java applications of which most studios develop one generic version and reuse for every release.
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I practically never watch any movies because they are almost always trash, but decided to go watch Obsession after seeing a youtuber (penguinZ) talking positively about it
Yeah it's pretty good. I am in my late 30. Excited for Backrooms which isnt yet available
This year seems to be turning a bit of a corner. Of the top box office movies so far this year there's Michael, Project Hail Mary, Hoppers, Wuthering Heights, GOAT.. with Obsession and Backrooms rapidly rising.
Last year it was basically F1 and Minecraft (and while not sequels, both are arguably well known "franchises" outside of movies - but I guess MJ and Wuthering Heights are too ;-)).
Showing alongside Obsession, another horror film made by a YouTuber.