THRILLS AND CHILLS (DOUBLE FEATURE): “Obsession” (2026) / “Backrooms” (2026)

(Sources: IMDb) 

We’re not even halfway through the year quite yet and, already, 2026 has become another milestone for the horror genre. In this case, two former YouTube content creators are emerging as genre-defining filmmakers with some impressive, original and unnerving horror features. Both Curry Barker’s terrifying romantic chiller Obsession and Kane Parson’s bleak and anxiety-inducing Backrooms were shot on low budgets and are filled with 80s-inspired synthesizer scores. They’re also striking, brilliantly made, and well-written in their own ways. 

Barker’s flick (which he directed, wrote, and edited) centers on an awkward and shy young man (Michael Johnson) who buys a souvenir willow and wishes that the woman he secretly loves (Inde Navarrette) would love him back. It’s no spoiler that he gets his wish. But, like an ancient monkey’s paw, it comes at a terrible price, putting a new twist on the theme of “Be careful what you wish for.” Not to mention a dark and haunting cautionary tale—a sick and twisted one at that. 

The 1.50:1 aspect ratio creates claustrophobia, primarily from the effect and presence of Navarrette’s breakout performance as Nikki. Transitioning from a genuine and likable coworker and friend to Johnson’s Bear, her snapped personality and mood swings give the impression that she (and the atmosphere) are possessed, with unexpected bursts of rage and/or confusion. Her stare alone is terrifying, including a moment involving creepy glowing eyes. Navarette displays a full range of emotions and mental breakdowns. Not to mention being thoroughly unpredictable. And certifiably insane. (It’s ironic that the actress, in real life, doesn’t like horror movies, similar to Neve Campbell and the Scream series.) Johnson gives an equally committed (though more subtle) performance as Bear, transitioning from a nervous wreck to confused and worried. He even questions whether his wish can be reversed or not. As a droll voice tells him, “Just because you chose this for her doesn’t make it any less real.” 

Barker has a unique ability to balance freaky horror and dark comedy, with awkward and quirky humor that relieves us (at least temporarily) from the horror that permeates primarily from Nikki. Moments involving a dead cat, aforementioned fits of emotional rage, shocking violence (one such moment had my stomach literally churning, wondering beforehand that something bad may happen—which it did), and sexual/suggestive scenes create tension that is unsettling and unexpected. Ditto elements of reverse psychology. (This is psychological horror, after all.) 

Released by Focus Features and produced by Jason Blum’s Blumhouse company, Obsession seems to be about impulsive characters who feel empty, who want new lives, and who want to feel loved—depending on what their definition of “love” is. For example, is said love sincere, or is it just codependent, like role playing to get attention? Motifs of time, as well as broken dreams and ambitions, play into this mix, too. The film undoubtedly has substance—another indication of Barker’s filmmaking skills. Even so, the effects are existential, nihilistic, and depressing. (Did I mention there are thoughts of suicide involved?) The overall moral I took from this: said obsession will mess you up and kill you if you let it. 

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Picture endless hallways resembling office buildings and furniture stores. Add in missing people who accidentally (and confusingly) end up in these alternate dimensions, and encounter some mysterious (mostly unseen) entities. That’s the basic premise of Kane Parsons (a.k.a. Kane Pixel)’s highly popular YouTube series from 2022. As The Blair Witch Project and Paranormal Activity were for their generations, so is Parson’s series of original videos for the current time. 

Backrooms is the latest release from A24, with Parsons behind the camera as director—and at just 20 years of age! Add to that support from co-producers Shawn Levy (of 21 Laps Productions), Osgood Perkins (of Phobos), and James Wan (of Atomic Monster). Their respective company logos precede the film in custom-made styles, resembling technological artistry (8-bit computer screens) from the late-80s/early-90s. Given its 1990 setting, the film combines both contemporary independent cinema with found footage, representing both minimalist and elevated horror. The result is simple but creative and effective filmmaking 

The small cast is headlined by indie veterans Renate Reinsve (as a therapist), Chiwetel Ejiofor (as a furniture store employee), and Mark Duplass (as a scientist). But it’s the set pieces and eerie atmosphere that are the keys to this mysterious and strange world, no different than anything that, say, David Lynch would have created/directed. Yellow-painted walls. Sporadic lighting. Creepy sounds. Never-ending mazes. Psychological twists and turns (not to mention potential dread and terror, and some effective jump scares) lurk around every corner. And the narrative gets claustrophobic, dangerous, paranoid, and more chilling as it goes along. (The recently-released Neon-distributed Exit 8 uses a similar concept, where anything can happen at any moment. The only differences with Exit 8 are the underground subway stations.) 

I think one of the best ways to describe Backrooms is in its visual and thematic concept of reality distortion. Store owner Clark explains it this way: “Imagine describing a dog to someone who has never seen a dog before, and asking them to draw it.” As such, unsuspecting citizens and secret government agencies and scientists encounter some creepy and nightmarish imagery, like something out of a dark fairy tale. Some of these elements can be bloody and horrifying. 

Thematically, issues of anger and control play into moments of reverse psychology, as well as visual metaphors (even reflections?) of abandoned or forgotten places and/or memories. Ditto old paths versus pursuing new ones, as well as self-help versus (genuine?) help from others. “Do you think anybody deserves to be alone,” asks therapist Mary. On the other hand (like Obsession), there seems to be an existential and/or nihilistic worldview, with certain characters becoming morally compromised and pessimistic, and becoming less like people and more like things (i.e., furniture). Don’t say anyone didn’t warn you about these places.