Young Filmmakers Thrill Audiences with Debut Successes

This weekend, young audiences flocked to movie theaters across the nation, drawn not by the big-budget Star Wars film, The Mandalorian and Grogu, but by Backrooms, a low-budget horror film from 20-year-old Kane Parsons. Released by A24 in 3,442 U.S. and Canadian locations, the film garnered an impressive $81.5 million in its first three days, almost equaling the debut earnings of The Mandalorian and Grogu.

Backrooms, developed from a viral internet series, was made for $10 million. Kane Parsons is the director and co-writer. The film outshone Obsession, the debut movie of another YouTube creator, Curry Barker. Despite being three weekends in, Obsession remained strong, earning $26.4 million, a 10% rise from its opening, and secured a second-place finish over Star Wars, which earned $25 million.

YouTube may not spell the end of cinemas; its creators could be the future of film.

Cinemas also premiered The Breadwinner, a family comedy with Nate Bargatze, and Pressure, a WWII drama starring Brendan Fraser. But it was the works of 20-something YouTubers that drew the crowds. Both films were produced by Blumhouse-Atomic Monster, a studio credited with box office successes over $10 billion.

Abhijay Prakash, Blumhouse-Atomic Monster president, noted the weekend’s success as validation. They focus on unique horror films for young audiences, exploring YouTube for emerging talent. He foresees others imitating their methods, seeing it as a sign of movies’ cultural relevance for young creators.

Backrooms began as an internet urban legend about dreary rooms, evolving into a web series using Blender’s 3D graphics. James Wan and Shawn Levy’s production companies developed it further, with Chiwetel Ejiofor and Renate Reinsve starring. The film grossed $118 million globally, making Parsons the youngest director with a No. 1 global film. A24 announced Backrooms was their best opening, surpassing 2024’s Civil War.

The R-rated film, praised by critics, drew a young and diverse audience. Exit polls show 86% of viewers under 35, over half under 25, and 44% under 21. Despite a B- CinemaScore, its popularity led to sold-out shows and multiple viewings. Some theaters required under-21s to be accompanied by adults for Backrooms and Obsession, which became Focus Features’ highest-grossing domestic release at $104.7 million.

CEO Luis Olloqui of Cinépolis USA saw sellouts for both films at their dine-in theaters. He observed no competition for the same audience, stating the right content draws diverse age groups to theaters.

The Mandalorian and Grogu experienced a 69% drop from its opening, now totaling $246.6 million globally. Meanwhile, Michael, a musical biopic, earned $11.7 million in its sixth week, amassing $339.9 million domestically. The Breadwinner followed with $7.5 million, and Pressure debuted at $5.8 million.

Outside the top ten, Tuner, a heist-romance, expanded to 452 theaters, earning $1.7 million in its second weekend.

“Everyone’s asking what can bring people back to the movie theater. This may be it,” said Paul Dergarabedian, Comscore’s head of marketplace trends.

Top 10 Movies by Domestic Box Office

This list includes estimated ticket sales for Friday through Sunday in U.S. and Canadian theaters:

• 1. Backrooms, $81.5 million.
• 2. Obsession, $26.4 million.
• 3. Star Wars: The Mandalorian and Grogu, $25 million.
• 4. Michael, $11.7 million.
• 5. The Breadwinner, $7.5 million.
• 6. The Devil Wears Prada 2, $5.9 million.
• 7. Pressure, $5.8 million.
• 8. The Sheep Detectives, $4.6 million.
• 9. Passenger, $2.6 million.
• 10. Mortal Kombat II, $2 million.