Focus Features turned a horror toy into box-office fuel

Focus Features is betting that “Obsession” won’t just scare audiences—it will make them want to own the story. By bringing the film’s One Wish Willow toy into the real world, building a multi-platform marketing push, and leaning on Curry Barker’s digital fan b

On the night the movie first premiered, the sales pitch wasn’t a trailer or a billboard. It was a midnight screening at the Toronto International Film Festival, with Jason Cassidy sitting in the dark and watching a horror story unfold—then immediately knowing Focus Features had to be part of it.

“It’s got something to say, and there’s a real thoughtfulness to it,” Cassidy said. “There’s something going on behind the movie in a way that feels interesting and different, and those are the kind of movies that we want to be known for.”

The studio’s enthusiasm has since turned into a launch strategy designed to do something rare for horror: keep fans close to the film between screenings and before the credits roll.

“Obsession. ” written and directed by Curry Barker. follows Bear (played by Michael Johnston). who uses a mysterious. supernatural One Wish Willow toy to make his crush. Nikki (Inde Navarrette). fall in love with him. The romance doesn’t last. Bear soon discovers the wish comes with shockingly sinister and scary results.

The movie screened at TIFF last fall, and Focus Features acquired it shortly after in a deal reportedly worth more than $14 million. It then screened at South by Southwest (SXSW) in Austin earlier this year before earning a wider release last week.

That wider release arrived with a box-office shock of its own: “Obsession” opened to an impressive $17 million against a modest budget of $750,000.

Cassidy’s argument for why the film could travel beyond typical genre reach is wrapped inside the studio’s marketing choices. He said he watched the film at TIFF and loved it because it felt layered.

“It’s got something to say, and there’s a real thoughtfulness to it,” Cassidy said. “There’s something going on behind the movie in a way that feels interesting and different, and those are the kind of movies that we want to be known for.”

Before the film hit wider screens, Focus Features built a campaign that treated the story like an object you could interact with—not just watch. One of the most prominent elements was bringing the One Wish Willow to life.

The studio created a website that sold the toy and backed it with a 30-second commercial featuring a jingle. Focus Features says the video surpassed 5 million views across platforms, and the product sold out within hours.

It wasn’t limited to screens. A specialty store and themed vending machines were deployed across Los Angeles for a limited time so fans could get the item in real life.

Cassidy framed the approach around immersion—making the toy feel like it belongs inside the plot, not bolted on for promotion.

“It is the jumping point in the movie that leads to everything else,” Cassidy said. “It’s immersed in giving them something to own, but also putting them right in the story in a way that feels just very authentic to that experience.”

The studio also leaned into what happened after fans got the toy. Cassidy said it was fun watching how the products took on momentum on social media, with influencers and fans making their own videos using the toy.

“We thought it was a blast. and it created a lot of social momentum because people were cracking them open and posting their wishes online. ” Cassidy said. “That was one way to create some of that social momentum and serve fans by igniting their passion and engaging them. which is so vital to opening movies today.”.

Focus Features carried that same idea of story-as-participation into other campaign components.

Another part of the rollout brought the character of Nikki to life through a fictional text line on the messaging platform Community. Fans could text the number and receive custom voice notes from Nikki. The notes were voiced by Navarrette, and Focus Features reported that the text line has generated around 70,000 subscribers so far.

“[It] brought her as a character and the movie to life in a way that was unexpected for people,” Cassidy said. “When you can be unexpected like that, it can really be sticky.”

In New York City and Los Angeles. Focus Features installed interactive billboards in high-traffic areas featuring the number of the text line and what appeared to be handwritten love notes. The notes changed throughout the day and became increasingly unsettling. matching the creepy and chaotic tone of the movie as the plot progresses.

“You’ve got a couple billboards that every other day become a little more unhinged, and if you’re paying attention, it makes you lean in more,” Cassidy said. “It’s a way to give fans something they can talk about, that they can own, that is juicy for them and they can take delight in.”

That kind of fan-first strategy arrives as horror itself keeps climbing with younger audiences. Greenlight Analytics research said “Obsession” nearly doubled its awareness for audiences under the age of 35 ahead of its prerelease week, led largely by women in that demographic.

Cassidy also pointed to the production partnership behind the scenes. Blumhouse Productions—via Jason Blum and his company—served as a production partner and executive producer, helping the film connect with contemporary horror audiences.

“Blum has that reach into the broader horror audience, which absolutely enabled us to extend our tentacles with this one,” Cassidy said.

Even with that wider reach, Cassidy said it was Barker’s own fan base that helped ignite young viewers. Focus Features worked closely with Barker on the campaign. and when the marketing team pitched the idea of bringing the One Wish Willow toy to life. the writer-director collaborated with them every step of the way.

Barker is known as part of the YouTube sketch comedy and horror duo “That’s a Bad Idea. ” alongside Cooper Tomlinson. who also stars in “Obsession.” In 2024. Barker self-released his feature-length directorial debut on YouTube for free. Milk & Serial, a found-footage horror film, was shot on an $800 budget.

Cassidy said Barker understands the spaces where the audience already lives.

“What’s so great about Curry is he’s so native to his digital world and he knows his voice and his community. and we absolutely wanted to tap into that. ” Cassidy said. “This is a group that has been online their whole life and likes to participate in stuff. and that’s vital to the experience of this.”.

For Barker, the early success feels like more than just a business win. At age 26, he’s already seeing momentum from his debut feature.

“It’s been a surreal experience,” Barker said. “You spend years making something and then suddenly you’re watching people all over the world talk about it. engaging with it. and giving it a life of its own. Seeing the One Wish Willows in real life, and selling out in less than 24 hours, is a highlight.”.

The push behind “Obsession” isn’t acting in isolation. Earlier this year. it was reported that Anything but Ghosts. another movie from Barker starring Aaron Paul. will be distributed by Focus Features and is being produced by Blumhouse-Atomic. Barker is also set to write and direct the upcoming reboot of The Texas Chainsaw Massacre for A24.

“It’s really exciting discovering Curry and talent like him,” Cassidy said. “He’s a filmmaker that is breaking into the world in such a giant way.”

With “Obsession” now open wide after that TIFF-to-theaters sprint, the studio’s wager is clearer: in a genre built on dread, it found a way to make fans bring the story home—then talk about it while it’s still unfolding.

Focus Features Obsession Curry Barker Blumhouse Jason Blum box office horror marketing One Wish Willow TIFF SXSW Community messaging interactive billboards Nikki voice notes