Obsession is a killer!
I Can Fix Him (No Really I Can)
“The universe is telling me that I’m meant to save him […] we can make a real change.”
With Sweetness, Emma Higgins delivers a wildly confident directorial debut that dives headfirst into the chaotic world of teenage stan culture—equal parts hilarious, unhinged (it takes a turn I didn’t quite see coming), and weirdly relatable at times. The film follows 16-year-old Rylee Hill (Kate Hallett), a social outcast whose life is consumed by her obsession with pop star Payton Adler (Herman Tømmeraas). Ever since her mother passed away, Rylee’s been struggling to keep it together—living alone with her dad (Justin Chatwin), dealing with bullying at school, and clinging to the only thing that makes her feel seen: Payton’s music. Music that saved her from becoming messed up… or at least, that’s what she says.
Higgins immediately hooks us with a visually striking opening and a sense of rhythm that carries through the entire film. The concert sequences are electric—sharply cut, pulsing with energy, and anchored by surprisingly good pop music that feels both era-accurate and emotionally sincere. Fangirls, I felt so seen! And you will too!
But what makes Sweetness more than just a fun, stylized ride is its formal precision and emotional depth. Higgins knows how to build tension and unease through camera placement: at times, we’re positioned like voyeurs, watching Rylee from a distance, reminiscent of Pascal Plante’s Red Rooms (2023). In one memorable moment, the bathroom is shot like it’s under surveillance—cold, static, almost too intimate. Elsewhere, the camera sometimes stays uncomfortably close to Rylee, only to slowly zoom out, revealing just how small and alone she is in her world. These subtle choices are incredibly effective, layering in loneliness, powerlessness, and the quiet devastation of being ignored.
And then there’s the delusion. Rylee’s parasocial relationship with Payton escalates as she convinces herself that he needs saving—and that she’s the one to do it. After a dramatic eye contact moment at a concert (he’s playing piano and singing “All I need is you”), she fully commits to her imagined bond. It’s cringey, bold, and totally compelling. In this house, we support women’s rights… but also Rylee’s wrongs.
The film does a brilliant job of poking at the line between admiration and obsession, without ever mocking Rylee. Instead, it explores how vulnerable young people—especially girls—often find themselves pouring love into unreachable figures. Just because you “know” a celebrity doesn’t mean you actually know them. So much of what we see is carefully curated. It’s a performance. And when that illusion breaks, the fallout can be devastating.
Higgins also nails the aesthetic. The production design is pure early-2000s meets TikTok-era chaos—Rylee’s bedroom is a shrine of glossy posters, fairy lights, and magazine clippings. It’s every obsessive teenage girl's dream, and the whole film carries that same energy: a little messy, totally passionate, and beautifully unfiltered.
Let’s not forget the music, which plays a key role in building tension throughout the story. The music not only slaps (no, seriously) but also deepens Rylee’s emotional landscape, letting us sit inside her delusions, her hopes, and her unraveling sense of reality. The vibes? Immaculate.
Sweetness is a standout debut that captures what it means to be a teenage girl living inside her own head—and her own heart. It’s not just about fandom. It’s about grief, obsession, isolation, and the very human need to feel connected to someone who seems to understand you, even if they don’t know you exist. Kate Hallett’s performance is fantastic, capturing Rylee’s vulnerability and chaos with honesty and humor. Emma Higgins is a filmmaker to watch, and I can’t wait to see what she does next.
Sweetness just had its Canadian premiere at the Fantasia International Film Festival and is coming soon to theatres.
Photo: Fantasia Film Festival
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