Young audiences flocked to theaters across the nation over the weekend. Surprisingly, it wasn’t for the anticipated blockbuster “Star Wars: The Mandalorian and Grogu,” which saw a significant drop in its second weekend. Instead, they gathered to watch “Backrooms,” a small-budget horror film by a 20-year-old first-time filmmaker Kane Parsons. Released by A24 in 3,442 locations in the U.S. and Canada, the film grossed an impressive $81.5 million in its first three days, based on studio estimates. Its earnings almost matched the opening weekend figures of “The Mandalorian and Grogu,” despite “Backrooms” costing only $10 million to produce.
The unexpected success of “Backrooms” did not affect “Obsession,” another film from a YouTuber, Curry Barker. Three weekends in, “Obsession” retained its opening weekend earnings, seeing a 10% increase with $26.4 million, securing second place over “Star Wars,” which made $25 million. YouTube seems to be breathing new life into cinema rather than ending it. This weekend’s performance might hint at a shift in the industry.
Meanwhile, theaters also hosted the debuts of “The Breadwinner,” a family comedy starring Nate Bargatze, and “Pressure,” a World War II drama featuring Brendan Fraser. Despite these debuts, the films by young YouTubers attracted the largest audiences. Both “Backrooms” and “Obsession” were produced by Blumhouse and Atomic Monster. Luis Olloqui, CEO of Cinépolis USA, noted sellouts at their theaters for both films, highlighting the importance of appealing content in driving attendance.
“Backrooms” originated as a creepypasta, an internet urban legend. Parsons adapted it into a viral web series using Blender, an open-source 3D graphics tool. His work gained attention from James Wan and Shawn Levy’s production companies, leading to a feature film starring Chiwetel Ejiofor and Renate Reinsve. The film’s success is not confined to North America, with global earnings reaching $118 million, making Parsons the youngest director with a No. 1 film worldwide. A24 also celebrated a record opening, surpassing their previous best with “Civil War.”
The R-rated “Backrooms” attracted a youthful and varied audience, as exit polls showed 86% were under 35, and 44% were under 21. Many attended in groups, with reports of sold-out showings and repeat viewers, despite receiving a B- CinemaScore. The buzz around the film is drawing interest from audiences of all ages, even prompting theaters to ensure under-21 viewers are accompanied by adults.
“Obsession” has now earned $104.7 million domestically, marking Focus Features’ highest-grossing domestic release. Meanwhile, “The Mandalorian and Grogu” saw a 69% decrease from its opening weekend, totaling $246.6 million globally. “Michael” secured fourth place with $11.7 million in its sixth weekend, accumulating $339.9 million domestically. Sony’s “The Breadwinner” earned $7.5 million, while “Pressure” debuted in seventh place with $5.8 million. Outside the top ten, “Tuner” expanded to 452 theaters, earning $1.7 million in its second weekend.
Paul Dergarabedian from Comscore commented on the changing landscape, noting the influence of YouTube creators in how movies are made and distributed. This shift is reshaping the traditional summer movie season.
Top 10 Movies by Domestic Box Office
- “Backrooms,” $81.5 million.
- “Obsession,” $26.4 million.
- “Star Wars: The Mandalorian and Grogu,” $25 million.
- “Michael,” $11.7 million.
- “The Breadwinner,” $7.5 million.
- “The Devil Wears Prada 2,” $5.9 million.
- “Pressure,” $5.8 million.
- “The Sheep Detectives,” $4.6 million.
- “Passenger,” $2.6 million.
- “Mortal Kombat II,” $2 million.