Showing posts with label Obsession. Show all posts
Showing posts with label Obsession. Show all posts
Lights, camera, action: Hollywood set for record India box-office glory
9:31 AM
Total collection reaches Rs. 1,424 crore in seven months of 2026, close to historical high seen in 2019
Rajesh N Naidu (THE ECONOMIC TIMES; August 31, 2036)
Mumbai: Hollywood is experiencing a standout performance in India this year buoyed by box-office wins of several releases. Total collections reached Rs. 1,424 crores in the first seven months of 2026, per a study by Ormax Media study, a media and entertainment research firm. Notably, the figure is close to Hollywood's historically high collection of Rs. 1,595 crores in 2019.
Films such as Obsession, Michael, Project Hail Mary, The Odyssey, Evil Dead Burn, The Devil Wears Prada 2, Lee Cronin's The Mummy, and Spider-Man: Brand New Day helped drive the stellar show.
Producers, distributors and film trade analysts are optimistic that the share of international films in India's total box-office collections will reach 20-25% this year, surpassing the historical high of 15% in 2019.
A key aspect in the success of Hollywood films is its appeal across genres. While biopics and epics such as Michael, The Odyssey and original IPs such as Project Hail Mary and Obsession found strong appeal among cinegoers, franchises such as Spider-Man: Brand New Day and Evil Dead Burn proved the power of loyal audience following.
"There is a Hollywood resurgence in India," said Suniel Wadhwa, cofounder and director at Karmic Films.
The share of international films in total box office collections slipped from 15% in 2019, to 9% in 2023, before recovering to 10% in 2025, said film trade analysts.
According to Ormax Media, between this January and July, this share has jumped to 17%. "Hollywood films' share in India's box office will cross 20% market share by the end of 2026," said Wadhwa of Karmic Films.
Producers are confident of the robust momentum sustaining thanks to the release lineup of mass and cult franchise films such as Avengers: Doomsday, Dune: Part Three, Godzilla Minus Zero, and Jumanji: Open World.
"Spider-Man is the highest-grossing Hollywood film in India," said producer Rajesh R Nair. "I estimate Avengers: Doomsday will be another blockbuster. It has already crossed $100 million in pre-sales globally. Indians have loved its trailer. Also, there is Dune: Part Three, which will release in the IMAX format, thereby further boosting collection. So, the overall Hollywood share could rise sharply."
Social media and streaming platforms are increasingly playing a key role in expanding the Indian audience base of Hollywood films.
Analyzing Obsession's India box office: The horror obsession that Gen Z can’t quit
2:20 PM
Niharika Lal (BOMBAY TIMES; June 25, 2026)
Indian audiences are obsessed with Obsession. With earnings of over Rs. 91 crore, the Curry Barker directorial is the highest-grossing Hollywood film of 2026. According to box-office data, since its release, the film has not dropped below its first-weekend numbers.
Its momentum has continued to snowball, making it the third highest grossing Hollywood horror film in India. The top two spots are occupied by The Conjuring and The Conjuring 2.
The film’s non-stop run is also because of a larger trend. There has been a clear boom in the horror genre at the Indian box office over the past two years. Exhibitors say globally branded international horror films have set new benchmarks in production values, sound design and immersive theatrical experiences. But Obsession’s success is not just about horror. It is also about Gen Z. We take a look at what worked.
‘Great work gets a film to opening day. What happens after that is the audience deciding whether to recommend it to their friends’
Denzil Dias, Managing Director, Warner Bros. India, says, “Most films follow the same curve: a big weekend, a steady decline, and they’re done by Wednesday. Obsession is running in the opposite direction. A first-time director has made a film that genuinely unsettles audiences, with performances from Michael Johnston and Inde Navarrette that stay with you long after you leave the cinema. The foundation of everything is the film itself. Great work gets a film to opening day. What happens after that is the audience deciding whether to recommend it to their friends.”
He adds, “What drove that word-of-mouth? The experience. Horror is perhaps the one genre where cinema is genuinely irreplaceable. The jump scares, the collective gasp, the nervous laughter, someone screaming three rows behind you and the entire hall erupting together – you cannot stream shared dread. Someone watched it, then told five people. Those five told ten more. We started with a plan for 100 screens. The audience took it to over 800. That’s what happens when the cinema experience itself becomes the recommendation. That is cinema doing what only cinema can do.”
Continuing a trend seen last year, younger audiences have played a major role in driving the film’s success. So why has Obsession connected so strongly with Gen Z? Cinema experts say the film taps into anxieties that are deeply familiar to younger audiences – consent, clingy partners, insecurity and emotional dependency. These themes have sparked conversations online and offline, helping the film spread by word of mouth.
The growing demand has translated into theatrical business. Exhibitors have increased the number of shows week after week, responding to audience demand. They say the film has shattered the myth that movie theatres are becoming outdated for Gen Z audiences and that younger viewers would rather watch films at home.
‘HORROR FANS SHOW A DISTINCT PATTERN OF ENGAGEMENT AND LOYALTY’
Exhibitors say that for horror films, online buzz and virality are especially powerful. It’s no longer just about watching a new film — it’s about going to the theatre because everyone is talking about it.
Exhibitor Aamer Bijli, tells us, “From our view, horror fans show a distinct pattern of engagement and loyalty. Gen Zs are drawn strongly to horror because it offers novelty, edge and social currency. They watch with friends, talk about the jump scares, post reactions and often return for repeat viewings with a group. For them, the theatre becomes a social outing tied to the genre.”
‘WHEN A HORROR TITLE STARTS TRENDING, WE OFTEN SEE AN UPTICK IN OCCUPANCY’
The impact of social media on horror films is also becoming increasingly evident. Last year, Bijli told us, “Our data shows that when a horror title starts trending through Instagram/X reactions and YouTube trailer engagement, we often see an uptick in occupancy, along with stronger holdovers.”
‘GEN Z AUDIENCES ARE PRIORITISING CULTURAL RESONANCE AND AUTHENTIC STORYTELLING OVER SHEER SCALE’
Social aspect is also one of the biggest drivers behind the film’s sustained run, according to distributors and exhibitors.
Sanjeev Kumar Bijli, Executive Director, PVR INOX Limited, says, “Gen Z audiences are prioritizing cultural resonance and authentic storytelling over sheer scale. This film has sparked conversations, built communities on social platforms and turned cinema-going into a shared cultural moment. Obsession proves that distinctive voices and emotionally grounded narratives can deliver both critical relevance and commercial impact.”
Devang Sampat, MD, Cinepolis, says, “Obsession has completely rewritten the playbook for Hollywood films in India. While the horror genre generally performs well here, the film opened modestly and then grew stronger every weekend, defying every historical trend we track. Audiences are clearly hungry for intellectually mature storytelling over spectacle.”
He adds, “It has been our most-watched film over the last three weeks, even against local releases. The film proves that a brilliant script and pure psychological tension can outperform bigger movies when driven by strong word-of-mouth. Late-night weekday occupancies in metros are touching 90%. It’s historic.”
A film isn’t finished till the audience tells me what they think-Christopher Nolan
3:37 PM
In an exclusive interview, Christopher Nolan talks about leaving his films open to interpretation
Natasha Coutinho (HINDUSTAN TIMES; July 15, 2026)
Oscar-winning filmmaker Christopher Nolan arrived in Mumbai over the weekend for the first-ever India premiere of one of his films, The Odyssey. The director behind The Dark Knight trilogy (2005–2012), Inception (2010), Interstellar (2014), Dunkirk (2017) and Oppenheimer (2023) remains one of the few filmmakers whose name alone can turn a movie into a global cinematic event. Known for pairing ambitious storytelling with immersive big-screen spectacle, Nolan spoke exclusively to HT City during his visit about The Odyssey, audience interpretations and the enduring appeal of cinema. Excerpts:
Your films continue to spark debate and multiple interpretations years after their release. Has any interpretation ever surprised you?
(Laughs) The fun thing is that if you leave room for interpretation, you engage the audience more. It is also important that I don’t judge those interpretations. I accept the idea that I’m putting things out there for people to make their own. With The Odyssey, it is no different. I make films for the cinema audience. Thousands of people have worked on the film, but it isn’t finished until it goes out to the audience and they tell me what they think.
What was it like to see Interstellar find a new audience in India after its re-release?
It’s interesting to see how things emerge in culture, when a film first releases and then over time. With Interstellar, which was re-released in India not so long ago, it has been very interesting to see its relationship with the audience evolve. That’s pretty satisfying as a filmmaker.
At a time when short-form content dominates, how important are films that celebrate cinema in its truest form?
What I like about telling an adventure story and putting it on the biggest screens possible is that this generation of young filmgoers may not have seen a film made on this scale before.
I see young audiences engage with cinema in incredible ways. I look at the work of Curry Barker with Obsession and Kane Parsons with The Backrooms. With The Odyssey, I’m hoping to open cinema screens to a large-scale story and a style of filmmaking they may not be familiar with. We’ll see how that goes.
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Filmmaker Christopher Nolan’s bond with India goes back several years. He shot portions of The Dark Knight Rises (2012) in Jodhpur and Tenet (2020) in Mumbai. This visit marked a first of another kind: Nolan had never before travelled to the country to launch and promote one of his films.
You’ve said Indian audiences celebrate cinema. Any interesting visuals you observed this visit?
It was fun to be at the fan screening of The Odyssey in Mumbai, which is one of the first audiences in the world to see the film. Emma (Thomas, producer), Matt (Damon, actor), Tom (Holland, actor) and I came and said hi to the fans at the end. We took a selfie with the audience, and it was remarkable to see hundreds of them with their IMAX camera popcorn buckets.
You, too, are celebrated as one of the most loved international filmmakers in the country...
To have fans in India respond to my work is a great thrill and a huge honour.
This is not your first visit to India. How has your perception of the country evolved over the years?
I love coming here. I’ve had the privilege of working here a couple of times and engaging with local crews. Working in Mumbai, particularly on Tenet, was a wonderful experience.
While driving from the airport, I saw some of the locations and it brought back happy memories. It
was really nice to be back, but it was especially meaningful to return to launch and promote a new film. I’ve never had the chance to do that here, though I’ve wanted to for many years. It’s exciting to be premiering a film here in India.
Hollywood returns to India box office spotlight with Spider-Man: Brand New Day, The Odyssey and others
3:05 PM
Packed slate of major releases could help exhibitors rake in robust collections in the coming weeks
Rajesh N Naidu (THE ECONOMIC TIMES; July 15, 2026)
Mumbai: Hollywood’s tentpole films have steadily gained ground at the Indian box office over the past 18 months, a trend industry insiders expect to accelerate this month as a cluster of major releases arrives within a fortnight, boosting overall collections.
From superhero spectacle Spider-Man: Brand New Day and auteur-driven The Odyssey to kids and family entertainment Moana and horror genre Evil Dead Burn, Hollywood films offer exhibitors strong potential for robust collections in the coming weeks, exhibitors, film trade analysts and producers told ET.
“Hollywood has enjoyed a strong run in 2026, with films such as Obsession, Project Hail Mary and Michael, among others, reaffirming the strength of the English-language box office in India. The upcoming line-up is also remarkably diverse,” said Gautam Dutta, chief executive, revenue and operations at PVR Inox.
Diverse themes and audience segments are likely to play a pivotal role in the success of these event films, trade insiders said.
They foresee a highly favourable response, especially to Christopher Nolan’s The Odyssey and Spider-Man: Brand New Day, given their loyal fan bases.
“There is a large fan base for director Christopher Nolan, actor Tom Holland and Marvel films in India,” said producer Rajesh R Nair. “The success of Hollywood films over the past year has become even more visible because of the weak content coming from Hindi cinema. In July, these four films are likely to perform well as there is almost no competition, even from regional cinema,” he added.
According to trade sources, Spider-Man: Brand New Day has already generated pre-sales of Rs 5 crore in India, while The Odyssey has recorded pre-sales of around Rs 2 crore.
Distributors said the two films will be showcased extensively in premium-format screens, which is expected to further boost box-office collections in July.
“These Hollywood films will be released across premium large-format screens such as IMAX, ScreenX, 4DX and P[XL]. Ticket prices in these formats range from Rs 700 to Rs 3,300,” said Shaaminder Malik, distributor and film business expert.
“One must also bear in mind that they will be released in multiple Indian languages. Therefore, these global tentpole releases are likely to drive repeat visits to theatres, thereby boosting occupancy and collections.”
Film trade analysts estimate that, cumulatively, these four films could contribute close to Rs 400 crore to the Indian box office. They pointed out that a collection of Rs 20-30 crore is generally enough for a Hollywood film to be considered a hit in India.
“I expect The Odyssey and Spider-Man: Brand New Day to outperform the other Hollywood releases in the coming weeks. Both films can easily collect at least Rs 300 crore, given the high level of audience interest,” said Girish Johar, producer and film business expert.
If I was part of Manjummel Boys, we could have taken it international-Guneet Monga
9:16 AM
Natasha Coutinho (HINDUSTAN TIMES; July 12, 2026)
Two-time Academy award winning filmmaker Guneet Monga Kapoor says that while she is happy to back Hindi and English films, her long-term vision is to work across Indian languages and take their stories to a global audience.
“I’m in the midst of closing a Marathi film and I want to work in every language. The idea is to double down on storytelling, as it is our superpower. Talent like actors and directors are also our superpower and so are the budgets, and our languages. I have the understanding of how to take movies and expand the footprint of an IP,” she tells us.
She adds that the true strength of the industry lies in collaboration. “If you see international films, you have five producers backing a single project, we should all collaborate back home too,” says Guneet.
Despite her international success, the producer says she isn’t slowing down until she achieves her biggest ambition: “That’s my $2 billion box office film and I feel it will be a regional film, it will be an offbeat genre and it will break out internationally.”
She adds that India is yet to have its “own Obsession moment”, referring to the horror film that grossed more than 540 times its budget. “We have amazing filmmakers and talent. I feel like If i was part of Manjummel Boys (2024), we could have taken it international and it would have broken out around the world. What’s holding us back?”, she shares.
Dhurandhar and then what? Bollywood's box office blues return after one big hit
10:38 AM
Outdated story formulas, fading star power bring string of failures soon after the success of Dhurandhar 2
Rajesh N Naidu (THE ECONOMIC TIMES; June 18, 2026)
Mumbai: After the blockbuster success of Dhurandhar The Revenge, Hindi cinema has slipped back into a slump, with at least seven consecutive box-office failures following the moderate performance of Bhooth Bangla, trade data showed.
Films such as Chand Mera Dil, Ek Din, Daadi Ki Shaadi, Pati Patni Aur Woh Do, Hai Jawani Toh Ishq Hona Hai and Bandar, despite featuring well-known casts and filmmakers, have failed to draw audiences.
Industry experts told ET that Bollywood's continued dependence on outdated storytelling formulas, fading star power, inability to adapt to evolving audience preferences, weak marketing campaigns and the failure to turn films into social media-driven cultural events have all contributed to the poor performance.
Producers and exhibitors said the industry has struggled to organically build audiences around films before their releases, a strategy increasingly crucial for box-office success.
Also, increasingly, makers in the Hindi film industry have a huge disconnect with audiences' tastes, said exhibitors.
"These films are rejected. Audiences want to come to theatres. The successes of Tamil film Karuppu or even the small-budget experimental horror film Obsession prove it. One needs to bring the right product at the right time. This is how the business works. Smart producers adjust to genres and not make what they think audiences will like," explained Vishek Chauhan, CEO of Roopbani Cinema, a single-screen theatre in Bihar.
"Earlier, big directors would constantly communicate with well-penetrated distributors to understand audiences' preferences and tastes. This is how they made films. This is not the case today," he added.
Apart from animation, horror genre has emerged as a favourite among audiences in India and abroad. Recently, a small-budget franchise Hindi film Haunted – Echoes Of The Past, which was released without marketing, collected Rs. 13.5 crore in the first six days of its release.
Another reason may have been dated stories and style. "These recent films are made in the old mould. You cannot make a Hindi film with the 1990s story and expect it to click with audiences. Today, audiences reward 'unique' writing. It is not about stars or a film's budget. Given the high costs that are involved in a theatre visit, these films made in the old mould do not provide a strong reason for audiences to come to theatres," said producer Rajesh R Nair.
"It is about intent. After the pandemic, I have not seen a major film launched which has matched up to the evolved taste of audiences. The intent is totally missing. If one starts a film then one must sense the audience's tastes 18 months in advance to be relevant," explained Girish Johar, producer and film business expert.
Is a Hollywood 'Obsession' sidelining Hindi releases?
2:59 PM
After filmmaker Anurag Kashyap claimed that Hollywood films are getting priority over Hindi films in theatres, trade experts weigh in on the impact on Indian releases
Akash Bhatnagar (HINDUSTAN TIMES; June 17, 2026)
The global success of the Hollywood horror film Obsession, which has reportedly earned 330 times its budget, has become a case study in world cinema. However, it has sparked mixed reactions within the Hindi film industry.
Filmmaker Anurag Kashyap recently expressed concern on his Instagram Stories that theatre chains are prioritizing Obsession over Hindi releases, including his film Bandar (released on June 5) and recent Friday releases such as Main Vaapas Aaunga, Governor, and others.
Trade analyst Komal Nahta, however, believes international films aren’t an impediment. He shares, “Only bad content is coming in the industry. Bandar is not doing well even otherwise, so the number of shows isn’t going to make a difference,” adding, “If in two shows, they can’t get houseful, what will they get in 20 shows?”
Trade analyst Atul Mohan adds that multiplex programming is largely driven by audience response. He says, “In a way, Anurag is right. Business is ruthless. If a film doesn’t do well in the first two days, they reduce the shows drastically, which doesn’t give time for word of mouth to spread. Hindi films deserve that time to grow.”
Film exhibitor Akshaye Rathi echoes the sentiment and says that the audience makes the ultimate decision. “If Main Vaapas Aaunga or any other film have very good occupancy levels, cinemas across the country would increase the number of shows, like they did for Haunted – Echoes Of The Past in the same week. So, it’s not about the theatres but what the audience decides,” he shares.
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These are business-oriented decisions. There is a policy for encouraging local produce, and there should also be a policy for encouraging local cinema. But there are arguments on both sides of the matter, and can’t be compared.
- IMTIAZ ALI, DIRECTOR OF MAIN VAAPAS AAUNGA
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Nothing is coming in the industry except bad content. If Anurag thinks it is because of Obsession that Bandar is not doing well, he should see the collections. Critical acclaim is not the same as the box office, and when we talk about competition, we talk about box office. So, Obsession is not acting as an impediment to the running of Indian films at all.
- KOMAL NAHTA, TRADE ANALYST
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‘FOR EVERY DHURANDHAR, THERE WILL BE FIVE EXPENSIVE FILMS THAT WILL BOMB’
Rishabh Suri (HINDUSTAN TIMES; June 17, 2026)
For Indian films to not get enough attention from theatres, despite having good reviews, does not go down well with Anurag.
He tells us, “Films like Bandar and Main Vaapas Aaunga should get proper shows so that people can watch them, allowing word of mouth to build up. Then another problem is that there’s an audience that is getting used to seeing such films on OTT. So you’re building an audience only for event movies. But such films are so expensive, and the hit-and-miss ratio is huge. For every Dhurandhar, there will be five expensive films that will bomb.”
He emphasizes strategic show timings for smaller films too. He adds, “Bandar’s night shows were full. But who’s going to go watch Bandar at 9 am, when it is going to upset you for the rest of the day? There’s human psychology also involved.”
Baara Number is a found footage horror film-Shriya Pilgaonkar
10:24 AM
Yashika Mathur (HINDUSTAN TIMES; June 16, 2026)
Actor Shriya Pilgaonkar has a full kitty with Haiwaan and Mirzapur: The Movie releasing this year. Now, she will be a part of the upcoming film Baara Number.
“Baara Number is a found footage horror film, which is a very specific genre. It works because it blurs the difference between fiction and reality. As an actor it can be challenging and exciting,” the 37-year-old tells us.
Interestingly, the film will be helmed by actor-filmmaker Vir Das, marking a departure from his usual comic style. This comes even as indie small-budget film Obsession directed by Curry Barker, a comedian-turned-horror filmmaker became a surprise blockbuster globally.
Pilgaonkar says, “I love horror films and it is so fun to see the box office collections of recent horrors like Obsession and Backrooms... This is my second collaboration with Vir. The first time was in (an unreleased) web series P P Petals. We have built a good rapport ever since.”
The project features an ensemble cast including Sheeba Chaddha, Arunoday Singh, Ahsaas Channa. While Pilgaonkar remains tight-lipped about her role, she shares, “We haven’t started filming yet, we are still in pre-production and workshops will begin soon. The film will be shot in Mumbai.”
Obsessed with Obsession? Anurag Kashyap calls out limited screenings for Indian films
9:24 AM
HINDUSTAN TIMES (June 15, 2026)
Filmmaker Anurag Kashyap has voiced his frustration over the way theatres are giving limited screen space to Indian films while continuing to schedule multiple shows for the Hollywood horror film Obsession, released on May 29.
Sharing his concerns on Instagram Stories (inset above), Kashyap said the issue was not the film’s popularity but the lack of visibility for local releases. “If we don’t priorities our own films with better showcasing, then I don’t understand how we will grow,” he wrote.
Kashyap noted that his recently released film Bandar faced a similar challenge last week, while Main Vaapas Aaunga, Sing Geetham and Governor are now struggling to secure enough screens.
However, social media reactions seem divided on the matter. While some agreed with Kashyap, others think that quality content is what is missing from the Indian film industry.
A user commented, “You are making boring films like Bandar, what to say.” Another wrote, “He has almost everytime delivered good content...We should genuinely prioritize our own cinema.” One person shared, “First learn to give quality content then speak about showtimes. Don’t teach theatres how to run.”
Kashyap’s comments come amid a crowded box-office weekend that saw nine films release on the same day: : Main Vaapas Aaunga, Governor, Bharat Bhhagya Viddhaata, Haunted 3D, Sing Geetham, Varavu, Disclosure Day, Backrooms and Heer Sara, raising concerns about screen availability and the impact on smaller titles during their crucial opening weekend.
Gen Z’s ‘Obsession’ with Urmila Matondkar leaves actor ‘completely blown away’
10:11 AM
Yashika Mathur (HINDUSTAN TIMES; June 13, 2026)
Actor Urmila Matondkar is enjoying an unexpected wave of love from a new generation of movie buffs. Following the success of the Hollywood psychological thriller Obsession, social media users have been drawing parallels with her acclaimed performances in Kaun (1999) and Pyaar Tune Kya Kiya (2001), sparking a fresh appreciation for the actor’s work.
The renewed buzz has left Matondkar overwhelmed: “Over the last few days, so many people have tagged me on social media. It’s just beautiful, honestly. It’s lovely to be acknowledged, even if it is 20 years later.” The actor believes those films and characters were ahead of their time.
“It’s amazing to see a younger generation, many of whom weren’t even born when these films released, connecting with them today. It has completely blown my mind,” she adds.
Having recently wrapped a web series, Matondkar admits the recognition feels especially rewarding as the films didn’t receive the industry response she had hoped for at the time: “I think it’s a big slap on the critics of the ’90s, with so many youngsters now remembering my performance.”
Gen Z is bringing audiences back to cinemas, says PVR Inox
9:23 AM
Regional films, sleeper hits help sustain multiplexes between tentpole productions
Javed Farooqui (THE ECONOMIC TIMES; June 12, 2026)
Mumbai: Young, particularly Gen Z, consumers are emerging as an increasingly important audience cohort for India's multiplex industry, as cinema chains seek to broaden footfalls beyond blockbuster releases. Younger audiences are returning to cinemas amid signs of digital fatigue, industry executives said. Also, regional films, Hollywood titles and sleeper hits are increasingly drawing audiences alongside marquee releases, helping sustain occupancies between tentpole films.
The trend comes as younger moviegoers assume a larger role in theatrical performance. According to Ormax Media's TOBAR 2026 report, consumers under 30 contribute 57% of Hindi box office collections and 70% of first-day revenues.
"Gen Z is driving admissions. They are back at cinemas and showing fatigue with the online world," said PVR Inox executive director Sanjeev Bijli.
Bijli cited the performance of Curry Barker's psychological horror film Obsession and Backrooms, directed by Kane Parsons, as examples of films resonating with younger audiences.
"These are original films and storylines. They are not superhero franchises or established IPs being remade or rebooted," he said, adding that both films had been made by young filmmakers and had connected with audiences globally.
Obsession, produced on an estimated budget of $750,000 to $1 million, has grossed over $234 million worldwide, according to box office trackers. A24's Backrooms, produced on a budget of about $10 million, has collected more than $221 million globally. Backrooms releases in India on June 12, while Obsession released on May 29.
Gen Z theatrical footfalls are rising as younger consumers increasingly seek in-person social experiences, said Rohit Dalmia, director at CineNow, a Rs. 1,350 crore film-focused fund based in the British Virgin Islands. "For younger audiences, cinemas offer a shared social experience with friends and close circles," he said.
Industry executives said premiumization, expansion into smaller towns and cities, and lower dependence on event films through a steady pipeline of sleeper hits are likely to remain key trends shaping the theatrical business.
(Crisp) Movie Review: OBSESSION by FENIL SETA
9:59 PM
Obsession tells an unusual story, and writer-director Curry Barker executes it in a refreshingly fresh manner. Its biggest strength is its creepiness; the way he brings this aspect to the fore must be seen to be believed. It is also nerve-wracking, as one never knows when the next jump-scare moment will arrive. On the flip side, a few developments are unconvincing, especially the actions of the boyfriend. The finale, and particularly the final scene, is underwhelming and could have packed a stronger punch. The absence of subtitles is a downer, and the same applies to the cuts imposed by the CBFC. Speaking of performances, Inde Navarrette (Nikki) is terrific, to say the least. Some of the most seasoned actors would have found this role difficult to crack, but she makes it look effortless. An Oscar nomination-worthy performance. Michael Johnston (Baron) is too good and communicates a lot through his expressions. Cooper Tomlinson (Ian) and Megan Lawless (Sarah) are fine. All in all, Obsession is a crazy film and makes for a great experience in cinema halls.
My rating - *** ½ out of 5!
My rating - *** ½ out of 5!
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