Young Filmmakers Dominate Box Office with Hits ‘Backrooms’ and ‘Obsession’

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This past weekend, young audiences flocked to theaters across the country, drawn not by the large-scale ‘Star Wars: The Mandalorian and Grogu,’ which saw a significant drop in its second weekend, but by a small-budget horror film created by a first-time filmmaker. ‘Backrooms,’ distributed by A24, played in 3,442 theaters in the U.S. and Canada and grossed an impressive $81.5 million over its opening weekend, as per studio estimates.

Directed and co-written by 20-year-old YouTube creator Kane Parsons, ‘Backrooms’ was produced for just $10 million. Its remarkable earnings almost rivaled those of ‘The Mandalorian and Grogu,’ which earned a similar amount in its opening weekend. ‘Backrooms’ success follows ‘Obsession,’ another film directed by YouTube talent Curry Barker, who at 26, saw his debut exceed expectations.

‘Obsession,’ with a production cost of under $1 million, has maintained strong revenue, improving by 10% in its third weekend, making $26.4 million. This achievement positioned it ahead of the ‘Star Wars’ entry, which fell to third with $25 million. The flourishing of these films suggests that YouTube could invigorate theatrical releases rather than diminish them.

This weekend, theaters also welcomed ‘The Breadwinner,’ a PG-rated comedy, and ‘Pressure,’ a WWII drama with Brendan Fraser. Yet, the excitement circled around YouTube-originated productions. Both ‘Backrooms’ and ‘Obsession’ were produced by Blumhouse-Atomic Monster, a company devoted to fresh horror content that resonates with young viewers.

“This weekend’s box office success validates our approach,” said Abhijay Prakash, Blumhouse-Atomic Monster President. He emphasized their strategy of sourcing talent from YouTube, anticipating industry trends.

‘Backrooms’ began as a creepypasta, later evolving into a viral web series made with Blender software. Garnering interest from production companies led by James Wan and Shawn Levy, it quickly transitioned into a feature film starring Chiwetel Ejiofor and Renate Reinsve.

Globally, ‘Backrooms’ amassed $118 million, confirming its international appeal. A24 celebrated Parsons as the youngest filmmaker to top worldwide box office charts, achieving a studio record. Critics praised the R-rated film’s originality, attracting a younger, diverse audience.

Exit polls indicated that 86% of viewers were under 35, with a notable segment under 25. Group attendance and packed screenings were common, despite a moderate B- CinemaScore. Some theaters regulated mature content access to comply with age restrictions, mirroring the procedures for ‘Obsession,’ Focus Features’ top domestic release, earning $104.7 million.

Cinépolis USA, known for dine-in theaters, reported high attendance for both films, dispelling competition concerns. CEO Luis Olloqui observed that quality content entices diverse age groups.

Conversely, ‘The Mandalorian and Grogu’ saw a 69% revenue drop, now totaling $246.6 million worldwide. ‘Michael,’ a musical biopic, managed $11.7 million, accruing $339.9 million domestically.

The top five rounded off with Sony’s ‘The Breadwinner,’ earning $7.5 million, while ‘Pressure’ debuted in seventh place at $5.8 million. Meanwhile, ‘Tuner’ expanded to 452 theaters, making $1.7 million.

Paul Dergarabedian of Comscore highlighted that YouTube-driven films may rejuvenate interest in cinema, addressing industry queries on attracting theater-goers.