This weekend, movie theaters across the nation saw a surge of young viewers, but oddly enough, it wasn’t for the high-profile Star Wars film, *The Mandalorian and Grogu*. Instead, they showed up for a low-budget horror flick from a 20-year-old first-time filmmaker who made his mark online.
*Backrooms*, released by A24 in 3,442 theaters in the U.S. and Canada, raked in an impressive $81.5 million over its opening weekend, according to estimates from the studio. This figure is just shy of what *The Mandalorian and Grogu* earned during its debut. Interestingly, *Backrooms*, directed and co-written by YouTube content creator Kane Parsons, had a production budget of only $10 million.
The remarkable success of *Backrooms* didn’t detract from another film, *Obsession*, which also marks the directing debut of 26-year-old YouTuber Curry Barker. After three weekends, *Obsession*—made for under $1 million—has consistently performed well, rising by another 10% and securing second place with $26.4 million, while the long-established Disney franchise film, *Star Wars*, came in third at $25 million.
It seems YouTube might not be the demise of movie theaters after all. If this weekend serves as an indicator, it could signal a positive turn for the industry.
This weekend also saw the release of the family-friendly comedy *The Breadwinner*, featuring well-known comedian Nate Bargatze, and the intense WWII film *Pressure*, starring Oscar-winner Brendan Fraser. Yet, it was a budding YouTuber who pulled in the largest crowds. Both *Backrooms* and *Obsession* were produced by Blumhouse Atomic Monster.
Abhijay Prakash, president of Blumhouse Atomic Monster, referred to the weekend as both surprising and affirming for the company, which has championed original horror films aimed at younger audiences and has generated over $10 billion in box office sales so far.
He mentioned that this weekend might inspire many similar projects, as they seek to identify emerging talents on platforms like YouTube and have insights into Hollywood’s workings. More importantly, he feels encouraged that young creators, even after achieving success online, still appreciate the cultural impact of theatrical films.
“This is a significant sign for us,” Prakash noted. “Looking back, I think we’ll see this as a pivotal moment.”
*Backrooms* originated from an online urban legend, but Parsons transformed the concept of monotonous, endless rooms into a hit web series, using the open-source 3D software Blender with some assistance. The film caught the interest of production giants James Wan and Shawn Levy, leading to plans for a feature film starring Chiwetel Ejiofor and Renate Reinsve.
Its success isn’t limited to the U.S. *Backrooms* has already earned $118 million globally. A24 stated that Parsons now holds the title of the youngest director to achieve the world’s number one film, and it marked a record opening for the studio, surpassing the previous record of $25.5 million set by their film *Civil War* in 2024.
The R-rated film has received positive reviews and attracted a diverse, young audience. Exit polls indicate that 86% of the viewers were under 35, with over half below 25 and 44% under 21. Many went in groups, leading to reports of sold-out showings and repeat attendance. However, the film didn’t receive high marks on the B Cinema score.
That said, *Backrooms* seems to have captivated audiences of all ages, with teenagers eager to watch it. Some theaters have staff outside screening rooms to enforce the requirement that any viewer under 21 must be with an adult. The same rule applies to the R-rated *Obsession*, which has grossed $104.7 million in North America, becoming Focus Features’ highest-grossing domestic film.
Luis Oroqui, CEO of Cinepolis USA, which operates 26 dine-in theaters across the country, reported that many locations showing both films were nearly full.
“I was initially concerned about competing for the same audience, but that hasn’t been the case,” Oroqui said. “With the right material, it seems people of all ages are willing to come out to theaters.”
Meanwhile, *The Mandalorian & Grogu* has experienced a significant drop of about 69% since its release last weekend. Currently, it has made $246.6 million worldwide.
*Michael* brought in $11.7 million in its sixth weekend, landing at number four, while the music biopic has grossed $339.9 million domestically. *The Breadwinner*, from Sony, came in fifth with an estimated $7.5 million. *Pressure* opened in seventh place with $5.8 million.
In terms of box office performance, *Tuner*, a heist romance movie, debuted in 452 theaters during its second week, pulling in a respectable $1.7 million.
“Everyone’s looking to see what might be the next big hit in Hollywood, something that can draw people back to theaters, and this could be it,” remarked Paul Dergarabedian, head of marketplace trends at ComScore.
Top 10 domestic movie box office revenue
Final domestic numbers will be released on Monday, but Comscore stated that the list reflects estimated ticket sales from Friday to Sunday at theaters in the U.S. and Canada.
1. *Back Rooms,* $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. *Sheep Detective,* $4.6 million.
9. *Passenger,* $2.6 million.
10. *Mortal Kombat II,* $2 million.
