O.C.D. (Obsessor Coercio Deus) 2025 Review

For people suffering from obsessive-compulsive disorder, life can be hellish. The affliction leaves individuals crippled by anxiety and the unyielding need to perform rituals. These rituals, meant to ward off perceived threats, dominate daily life, making even simple tasks insurmountable. This relentless cycle of obsession and compulsion causes significant distress, creating an overwhelming sense that failure to complete these rituals will lead to catastrophic consequences, as if the world itself is about to end.

In Luca Pizzoleo’s short film ‘O.C.D. (Obsessor Coercio Deus),’ this torment is brought to life through the story of Owen, a neurotic delivery driver plagued by severe O.C.D. While in a convenience store, on the phone to his girlfriend, his compulsions escalate, manifesting themselves in the form of a menacing man known as The Agent. As the situation spirals out of control, Owen feels that his whole life is falling apart, and that everything is on the line.

It is a tense descent into a compulsive mind. Pizzoleo’s screenplay, written alongside Conor Patrick Walsh, paints a frightening portrait of one afflicted by O.C.D. Owen literally feels as if the world around him is ending, and this sense of impending doom permeates every scene. The narrative cleverly intertwines Owen’s internal battles with external events, seamlessly melding fantasy and reality.

Proceedings boast a claustrophobic atmosphere, mirroring Owen’s trapped mind, heightening the tension as his compulsions escalate. The Agent, as a manifestation of Owen’s anxiety, serves as a constant, oppressive presence, underscoring the severity of his condition. The film skilfully navigates the thin line between reality and Owen's distorted perceptions, making one question what is real and what is a product of his disorder.

A darkly amusing look at the absurdities of living with O.C.D., Pizzoleo and Walsh use black comedy to underscore the ridiculous lengths Owen must go to placate his compulsions. Owen’s interactions with everyday objects take on a comically exaggerated significance, transforming mundane tasks into epic battles.

Additionally, Pizzoleo and Walsh satirize the influencer culture through the vapid and vain character of Owen’s girlfriend, more concerned with her social media presence than with Owen's well-being. Her superficiality contrasts sharply with Owen’s intense internal struggle, adding another layer of irony to the narrative. The film cleverly critiques the often shallow and performative nature of social media, highlighting how it can trivialize serious issues like O.C.D.

Moreover, it is very well-edited, with quick cuts and rapid transitions, creating a relentless, frantic pace, mirroring the incessant, intrusive thoughts driving Owen's actions. This approach not only keeps one engaged, but also provides a visceral understanding of the perpetual state of distress experienced by those with O.C.D.

In addition, director of photography Jeremy Basset’s claustrophobic cinematography, characterized by tight framing and dynamic lighting, effectively mirrors Owen's sense of entrapment. The sound design and Alexander Arntzen’s intense score further amplify the pervasive sense of dread, drawing one further into Owen's tumultuous world and viscerally conveying his anxiety.

Raz Fritz stars as Owen, delivering a standout performance that captures the intense desperation of a man at war with his own mind. More than effectively conveying the relentless anxiety and overwhelming need to perform rituals that O.C.D. victims face, Fritz is terrific. The great Steven Ogg is marvellously menacing as The Agent, carrying with him a foreboding aura of violence. Like a wolf let loose in a hen-house- you never know just what he’ll do next; but you know it won’t be pretty. In addition, Ariel Martin brings to life Owen’s vacuous girlfriend with aplomb.

In conclusion, Luca Pizzoleo’s ‘O.C.D. (Obsessor Coercio Deus)’ is a tense, exhilarating journey into the mind of someone battling severe O.C.D. The film expertly balances psychological horror with dark comedy, providing a nuanced and empathetic portrayal of the disorder. Well-edited, and with outstanding performances- particularly from Raz Fritz and Steven Ogg- as well a keenly observant script, this compulsively compelling short film is a must watch.