Young audiences flocked to cinemas this weekend, not for a major franchise blockbuster, but for low-budget horror films born from the internet. Two independent features, helmed by first-time filmmakers who rose to prominence online, captivated viewers and left legacy franchises in their dust.
Backrooms, released by A24 across 3,442 locations in the US and Canada, achieved an astonishing $81.5 million in its opening three days. Directed and co-written by 20-year-old YouTube creator Kane Parsons, the film was produced for just $10 million. Its global takings already stand at $118 million, making Parsons the youngest director to helm a global number one film and marking a record opening for A24.
The success of Backrooms did not hinder Obsession, another directorial debut from a YouTuber, 26-year-old Curry Barker. Three weekends in, Obsession still hasn’t dropped below its opening weekend earnings. This weekend, it was up 10 per cent with another $26.4 million for a second-place finish, leaving Star Wars: The Mandalorian and Grogu in third with $25 million.
Backrooms originated as a 'creepypasta' – an internet-generated urban legend – before Parsons adapted the concept into a viral web series. The R-rated film attracted a notably young and diverse audience, with exit polls indicating 86 per cent of viewers were under 35, over half under 25, and 44 per cent under 21.
Luis Olloqui, CEO of Cinépolis USA, said they’ve seen sellouts at many locations for both movies. 'We were a little worried that they would be competing for the same audience. It’s not the case,' Olloqui said. 'It shows that when we have the right content, people from all ages are willing to go to the theater.'
The unexpected triumphs suggest that YouTube might not be the demise of traditional cinema, but rather a burgeoning new hope for the industry. 'Everyone’s asking what’s the next big thing in Hollywood for movies, and what can bring people back to the movie theater? And this may be it,' said Paul Dergarabedian, head of marketplace trends for Comscore.
