Over the weekend, audiences flocked to theaters for a pair of breakout films, marking a shift in cinematic success stories. While the anticipated “Star Wars: The Mandalorian and Grogu” saw a steep decline, it was the indie horror “Backrooms” that captured attention. Directed by 20-year-old Kane Parsons, “Backrooms” debuted in 3,442 locations across the U.S. and Canada, generating $81.5 million in its initial three days according to estimates.
The success of “Backrooms,” which cost $10 million to produce, nearly matched the earnings of “The Mandalorian and Grogu” from its previous opening weekend. Another film thriving under similar circumstances was “Obsession,” helmed by YouTuber Curry Barker. Despite its modest budget under $1 million, “Obsession” increased 10% in box office earnings compared to its debut, securing $26.4 million.
The impressive performance of both films suggested new trends for the industry, challenging the notion that YouTube threatens traditional cinema. Blumhouse-Atomic Monster, the studio behind these horror hits, continues to seek original horror that appeals to younger demographics, accumulating over $10 billion at the box office.
Abhijay Prakash, president of Blumhouse-Atomic Monster, emphasized the importance of nurturing new talent from platforms like YouTube, predicting future imitations of these successes. Despite their significant online accounts, young creators still value the cultural impact of theater releases.
“It’s a great sign of relevance for us,” Prakash shared. “With some distance, we’ll probably look back at this as a real turning point.”
“Backrooms” originated as a viral internet series before evolving into a major release, developed with Blender software. The film, featuring Chiwetel Ejiofor and Renate Reinsve, received favorable reviews and attracted diverse, young audiences. Exit polls indicated that 86% of viewers were under 35, with sold-out shows reported.
Internationally, “Backrooms” grossed $118 million, marking a record debut for A24, surpassing its previous benchmark set by “Civil War.” The film’s R-rating resulted in vigilant enforcement of age requirements.
As for “Obsession,” North American receipts totaled $104.7 million, earning it the title of Focus Features’ top-grossing domestic release. Luis Olloqui, CEO of Cinépolis USA, noted the turnout for both productions, stating, “It shows that when we have the right content, people from all ages are willing to go to the theater.”
Meanwhile, “The Mandalorian and Grogu” witnessed a 69% drop, reaching $246.6 million globally.
The rankings were further rounded out with noteworthy earners like “Michael,” generating $11.7 million, “The Breadwinner” at $7.5 million, and “Pressure” debuting with $5.8 million. “Tuner,” a heist-romance, expanded its theater count and earned $1.7 million.
Paul Dergarabedian of Comscore commented on the evolving landscape, suggesting that the weekend’s results might herald what’s to come in bringing audiences back to theaters.
Top 10 films 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
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