No, no, love burden

One should recoil from devil’s pact. Forcefully and dreadfully as much as possible. Runaway like crazy should be the way. Facing to fight may be no way unless ready to give up this world for the one above to ascend must be the other way.

That was Faust (1829) written by Joann Wolfgan Goethe. The soul transaction, then, has been differently treated, depicted, secularized or horrified. The base may be viewed though on a same ground for stand. You wish, something comes.

There is a well known short story, “The Monkey’s Paw” (1902) by W.W. Jacobs. Three wishes came to be true, one by one, each carrying a terrifying consequence toward the final to be the final like a demonic redemption which human can make to end such a hopeless sequential drama.

Stephen King elaborated the theme in his “Pet Sematary” (1983). The misspelling isn’t a mistake of the publisher but that’s kids’ take. I recall the author himself said the story might be the most terrifying among all his horror novels.

The unfortunate protagonist of “Obsession” (2026) by Curry Barker didn’t wish any of grandeurs. He wanted to be his love to accomplished, that’s all. What fell upon him was a series of simple plots if viewers don’t count Nikki’s modern version of …. Well … what? Which craft or the victim of which craft, or carrier of devil’s spells or soul eater?

There in “Obsession”, the deal maker isn’t unhidden but exposed as a shop keeper. His occult power seems, moreover, not to be specially old fashioned in bygone era style. The doomed lovers alike, an asylum of heavy duty psychopaths is a description accuracy more than outworld transaction.

The director, Curry Barker worked with an interesting art team for this movie for decors, interiors in particular. There ‘re lots of cult, occult visual symbols, rampant, while not excessively assertive. Great credits must also go to those amazing actors and actresses.

(Pictures below are my screenshots from YouTube trailers and google images in relevance.)

**

Obsession 2026. Nikki stands on a threshold. Bear (who wished Nikki’s exclusive love) lost his chance to turn back to run.

**

My viewing of Obsession 2026 was fresh as just this early morning online. Several days ago, what I pursued with my strong stance of commitment was Channel Zero “Dream Door” (2018). My initial interest in Nick Antosca (show runner of Cape Fear 2026) led me to check and watch Dream Door. A few days later, after my viewing of it, finally pieces of memories came back to me. I had watched it before by DVD of library. My mental sanitary system had made me forget almost all of scenes except the very last. The baby is also a carrier able to make thresholds for some things to come out.

This is Julian in “Dream Door”. Most obviously the door is the entry to this world’s consciousness of hers. Through which, “id” of “Forbidden Planet” (Sci Fi in 1956) by Fred M. Wilcox. One’s subconsciousness makes monstrous materializations possible. In Dream Door, the key factor is selective DNA as to be mutation, carried over via genes. Here in Dream Door, there is no aliens’ advanced technology which made id’s emergence possible.

**

The door in the question of crucial threshold is further down in the basement, down and lower down boundary, the other side of which is a forbidden corner of a mind.

**

Pretzel Jack showing up with no audibly alarming fanfares. This excruciatingly violent film is most interesting by the early episodes until the cartography of the sister and her half brother enlarges into the site of real estate development. Their mental chambers become accordingly less mysterious and broad. The story’s plots however head to a convergence for children’s dream turning into nightmares which flip over their adulthood as imperative horror-dream.

**

Curry Barker’s Obsession has also such elements. No, no, the love burden in the end crossed over its double thresholds by which Nikki has no place to step back.

******

No, no, love burden by Juliette Masch (8/9)