Shadows of Obsession: Does ‘OBSESSION’ (2026) Redefine the Nollywood Psychological Thriller?
In the glittering yet treacherous world of social media influence, Obsession drops like a bombshell, unpacking the dark underbelly of online stardom with raw Nigerian flair.
Released just days ago on January 16, 2026, by Golden Tide TV, this 1-hour-43-minute drama, directed by BororoFlicks stars Uzor Arukwe, Debby Felix, Akeem Ogara, and Ehis Perfect in a tale of gifts that turn into curses.
As a Nollywood vet who's seen the industry evolve from the era VHS tapes to sleek YouTube premiers, I dove into this fresh flick and emerged gripped – it's a mirror to our digital addictions, laced with betrayal and Lagos hustle.
Cinematography: Glossy Aesthetics vs. Narrative Grit
Visually, OBSESSION immediately signals that it belongs to "New Nollywood." The camera quality is sharp, capturing the affluent, minimalist interiors that have become a staple of modern Nigerian thrillers. The use of close-ups during Mimi’s (Debby Felix) moments of isolation is effective; the camera lingers on her face just long enough for the audience to feel the claustrophobia of being watched.
However, the film occasionally falls into the "TV-style" trap. Many dialogue-heavy scenes between Mimi and Ora (Ehis Perfect) rely on static medium shots that feel functional rather than artistic. We miss the dynamic "creeping" shots that a psychological thriller demands—the kind of camera movement that suggests a predatory presence even when the frame is empty. The lighting consistency, however, is a high point. Unlike many low-budget productions that struggle with night shoots, the lighting here remains moody and intentional, particularly in the scenes within Jay’s (Uzor Arukwe) residence, which feels both safe and like a gilded cage.
Sound Design & Music: The Pulse of Anxiety
If there is one area where Nollywood often breaks its own heart, it’s sound. In OBSESSION, the dialogue audibility is generally crisp, a testament to improved location sound recording. However, the sound mixing balance is a bit of a rollercoaster. There are moments where the background score—a melancholic, synth-heavy arrangement—threatens to swallow the dialogue.
The film’s use of silence is its strongest sonic weapon. In the scenes where Mimi receives anonymous texts, the absence of music heightens the "ping" of the phone, turning a mundane gadget into a source of dread. Culturally, the score hits the right notes, avoiding the over-the-top "horror" sounds of old-school Nollywood and opting instead for a tension that mirrors Mimi's fraying nerves.
Costume, Makeup & Production Design: Communicating Status
The production design team understood the assignment: Mimi is an influencer. Her wardrobe is a character in itself—carefully curated, aspirational, and trendy. This isn’t just vanity; it’s narrative. Her "offline" appearance in the latter half of the film, as her paranoia grows, provides a sharp contrast, showing a woman losing grip on her curated perfection.
The set design of Jay’s house is equally telling. It’s masculine, orderly, and professional—reflecting the persona Uzor Arukwe brings to the role. The contrast between Mimi’s vibrant, chaotic world and Jay’s controlled environment visually underscores her need for protection.
Narrative Structure: The Hook and the Drag
The film opens with a classic Nollywood birthday hook. It’s relatable—who doesn't love a birthday surprise? But the transition from a "soft life" celebration to a stalking nightmare is handled with surprising restraint. The pacing, however, suffers from the typical "Nollywood Mid-Film Lull."
The subplot involving the tension between Mimi and Ora drags slightly, taking away from the immediate threat of the stalker. While the psychological friction between the two friends is necessary for the climax, it occasionally feels like we’re watching a different movie—a friendship drama rather than a thriller. The resolution, which reveals the stalker’s identity, is a bold choice that seeks to subvert expectations, though some may find the "reveal" a bit too clean given the preceding tension.
Plot Logic & Story Gaps: The Realism of Paranoia
In the Nigerian context, the "stalker" trope is tricky. We are a communal people; we live in estates with security guards and "Area Boys" who know everyone’s business. OBSESSION accounts for this by making the stalker someone with resources—Cudon (Mr. T).
However, there are gaps. Why does Mimi, a top-tier influencer, not have a more robust digital security team? Her decision to move into Jay’s house is a classic "character shortcut" to force chemistry between the leads. While it serves the plot, it feels slightly irrational for a woman of her status, though it aligns with the Nigerian societal norm of seeking "man-power" for protection when things go south.
Characterization & Performance: The Power of Three
Debby Felix (Mimi): Felix carries the weight of the film with grace. She manages to make the "Influencer" archetype sympathetic rather than superficial. Her descent from a confident "Big Meme" to a terrified victim is believable and nuanced.
Uzor Arukwe (Jay): Uzor is a veteran for a reason. He brings a grounded, calm energy to Jay that balances Mimi’s frantic energy. His performance is subtle; he doesn't need to shout to command the screen. His chemistry with Felix is palpable, making the forced proximity trope work better than it should.
Ehis Perfect (Ora): Ora is perhaps the most complex character. Her transition from the supportive best friend to a jealous saboteur is a classic Nollywood "frenemy" arc. Perfect plays it with a simmering resentment that is uncomfortable to watch—which means she did her job perfectly.
The use of language—smooth English interspersed with Pidgin—feels authentic to the Lagos middle-class experience. It doesn’t feel scripted; it feels like a conversation you’d overhear at a café in Lekki.
Thematic & Cultural Relevance: Fame in the Age of Instagram
At its core, OBSESSION is a commentary on the "Influencer Economy." It explores the dangerous blurred lines between a public persona and private safety. In a country like Nigeria, where "showing off" on social media is both a business model and a social requirement, the film asks: What is the cost of being seen?
The theme of betrayal among women is also explored, though it borders on the "cliché." However, by linking Ora’s jealousy to the stalker’s obsession, the film suggests that external threats are often enabled by internal fractures.
The Verdict: A Step in the Right Direction
OBSESSION isn’t a perfect thriller, but it is a sophisticated one. It trades the "juju" and "blood money" tropes of the past for a more modern, psychological horror: the loss of privacy and the betrayal of trust.
The film's greatest strength is its performances and its willingness to sit with uncomfortable emotions. Its weakness lies in a slightly bloated middle and a resolution that might feel a bit too "forgiving" for a thriller of this nature. However, for a 2026 production, it shows that Nollywood is getting better at "the slow burn."
Who Should Watch This Film?
The "Soft Life" Crew: If you live on Instagram and TikTok, this is a cautionary tale for you.
Thriller Buffs: If you enjoy films like The Invisible Man or YOU, you’ll appreciate the Nigerian spin on the genre.
Uzor Arukwe Fans: Let’s be honest, he’s reason enough to watch anything.
Call-to-Watch
If you’re looking for a film that moves beyond the typical "who-married-who" drama and offers a tense, stylish look at the dark side of fame, OBSESSION is a must-watch. It’s a testament to the fact that our stories are evolving, and our monsters are no longer just in the bushes—they’re in our DMs.
Catch OBSESSION on Golden Tide TV. Your screen might be watching you back.
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