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Of all the parallels that can be drawn between the horror and erotic thriller genres, perhaps the most trite but also one of the more curious are the longstanding accusations of misogyny hurled at both genres. Curious in the sense that a lot of the criticisms tend to be contradictory and confused, particularly as it relates to how women are written and portrayed, especially when it comes to erotic thrillers. The typical byline is that the women in films from both genres are perpetually victimized male fantasies, in effect denying the the characters the agency the screenplays give them. Direct-to-video erotica of the 90's was particularly fertile ground for subversive, female focused narratives, best exemplified by the series of softcore films made by hardcore pioneer Gregory Dark from 1991 to 1996. With a few exceptions, the classic erotic thriller or noir idea of the “femme fatalle” is a rare thing in Dark's erotic thrillers. Dark's fatales tended to be of the homme variety with his narratives beginning in Carnal Crimes (1991) and continuing in films like Secret Games (1992) and Animal Instincts 2 (1994) focusing on female fantasies turned dangerous. Made near the end of Dark's softcore cycle, Object of Obsession saw Dark once again taking a quintessential erotic thriller scenario's, the woman-in-peril, and flipping the script of the fantasy gone wrong, telling the story from the titular female object of obsession's perspective.
During one of her many nights in alone, Margaret (Erika Anderson), a single divorcee stuck in a romantic and professional rut, receives a phone call by mistake. Thinking nothing of it, the following night she receives another call from the same caller, a mysterious, smooth talking male voice calling himself “Blaze”. In her loneliness, Margaret begins to look forward to Blaze's calls and when Blaze proposes they finally meet, Margaret agrees. After proclaiming he should have “saved” Margaret sooner, Blaze (Scott Valentine) takes Margaret to his apartment. Finally excited by the prospect of something new, Margaret's hopes are swiftly deflated once Blaze leaves and Margaret finds herself trapped inside his large apartment, merely a plaything for “Blaze”.