The summer movie season is usually dominated by big Hollywood names, but this year, two emerging filmmakers are stealing the spotlight with their debut theatrical releases. Kane Parsons, aged 20, and Curry Barker, aged 26, who gained popularity on YouTube, directed the films “Backrooms” and “Obsession,” both of which have topped the box office charts.
“Backrooms,” a liminal space horror movie by Parsons, premiered at No. 1 last weekend, earning over $5 million in Canada and $118 million globally. A24 recently declared it their highest-grossing film in North America within just five days. Meanwhile, Barker’s psychological horror film “Obsession” has raked in $150 million worldwide since its release two weeks ago.
These young directors, along with their youthful fan base, are reshaping the industry landscape, potentially influencing future project selections. Industry experts, such as Aaron Couch from The Hollywood Reporter, attribute their success to their YouTube origins.
“Backrooms” originated as a viral YouTube series, amassing over 25 million views and a devoted following. Parsons emphasized the importance of detail in translating his online world to the big screen. Barker, known for his comedy sketches on YouTube, ventured into horror with “Obsession” after releasing the horror film “Milk & Serial” on YouTube in 2024.
Chris Ferguson, a producer on “Backrooms,” highlighted the seamless transition of Parsons’ audience to cinemas due to the authenticity of the film. Marlow Stern from Variety noted that horror, with its low budget entry point, fosters innovation, citing past successes like “Texas Chainsaw Massacre” and “Paranormal Activity.”
Both “Obsession” and “Backrooms” showcase the trend of young horror directors finding box office success with modest budgets. “Obsession” was made on a $750,000 budget, while “Backrooms” had a $10 million budget. In contrast, big-budget releases like “Star Wars: The Mandalorian and Grogu” struggled to match their box office returns.
Exit polls revealed that the majority of the audience for “Backrooms” and “Obsession” were young adults, signaling a shift reminiscent of the New Hollywood era. This generational change is driving the box office, with smaller, authentic films resonating more with younger audiences than traditional blockbusters.
As the industry adapts to these new trends, the success of these smaller films suggests a potential shift in production priorities, offering a fresh outlook for the future of cinema.
