Duplass Hails $118 Million Backrooms Surge as 2 Horror Hits Lift Fractured Film Industry
Updated
Updated · Deadline · May 31
Duplass Hails $118 Million Backrooms Surge as 2 Horror Hits Lift Fractured Film Industry
4 articles · Updated · Deadline · May 31
Mark Duplass called the breakout runs of Backrooms and Obsession a “glimmer of hope” for a film business he said remains fractured, arguing their success shows online-born creators can still break through theatrically.
$118 million worldwide gave Backrooms A24’s biggest opening weekend ever, while Obsession reached $104.7 million domestically and $148 million globally in its third week for Focus Features.
Both films were built by young filmmakers who started on YouTube using accessible tools such as Blender, a path Duplass said should encourage creators to keep making work at home and building audiences online.
The two horror titles led the weekend box office ahead of Disney’s Mandalorian and Grogu and Lionsgate’s Michael, reinforcing industry claims that edgy, low-cost genre films are connecting strongly in theaters.
With AI now creating films for $360, is the low-budget YouTube model already becoming obsolete?
As YouTube creators conquer Hollywood, what established industry rules are they breaking for good?
Beyond creepypastas, what untapped internet lore holds the key to the next blockbuster franchise?
$88 Million Opening: "Backrooms" and the Rise of Gen Z Horror from YouTube to Hollywood
Overview
*Backrooms*, distributed by A24, made an unprecedented splash in the cinematic landscape with a record-breaking debut. The film is projected to earn between $85 million and $88 million in its opening weekend across 3,442 theaters, including a Friday gross of $38.4 million. This turnout marks the biggest debut in A24’s 14-year history, surpassing previous records by a factor of three. The immediate success of *Backrooms* firmly establishes it as a major industry event and highlights a significant shift in audience behavior, signaling strong interest in original content and drawing younger viewers back to theaters.