The films are both made by 20-something YouTubers turned filmmakers.
02 Jun, 2026
The multimillion-dollar openings of indie horror flicks Obsession and Backrooms have Hollywood buzzing about the 20-something YouTuber directors who are driving Generation Z audiences to the theatre in droves.
The endless yellow hallways of A24’s Backrooms, directed by 20-year-old Kane Parsons, terrified tens of thousands of people in its opening weekend to rack up $118 million at the box office.
And Focus Features film Obsession, directed by 26-year-old Curry Barker, has taken in $148 million worldwide in two weeks — a smash hit for a production that cost $750,000.
“It’s a huge, huge success and a real turning point for the industry, potentially,” said associate editor Matthew Frank of The Ankler, a digital media company that covers Hollywood.
“They’re breaking out with these films that are appealing to a younger demographic,” Frank said, adding that the vast majority of ticket buyers the past couple weekends “have been under 35 and even, you know, under 25. So it’s appealing to this demographic [that] normally doesn’t really get spoken to.”
In recent years multiplexes have faced a multi-fold decline, fueled by the rise of streaming, a lag in recovery in ticket sales since Covid, and the strikes that halted production in Hollywood in 2023.
But this year’s numbers are drumming up optimism for the best year since the pandemic.
This is thanks in part to Generation Z, which boosted the box office by 25 per cent last year, according to a report from the National Research Group.
Theatre owners are “ecstatic about these weekends,” said Ronnie Yount, owner of the Phoenix Theatres chain in the Midwest.
Yount compared both films to Lilo & Stitch for driving box office — which seemed unthinkable.
Franchise fails
The trick to tapping into the younger market is to “deliver the right films,” Frank said.
“Hollywood’s problem, for a while, was saying, ‘oh, it’s young people,’ when in fact it was because they were making the 10th (installment in) pre-existing franchises that were popular for their parents.”
The safe bets from studios that hoped to cash in on an endless slate of summer action hero movies turned off younger audiences.
“When you make something that’s for that audience, that’s when they’ll come out,” Frank said.
Parsons, who is known to his 3.2 million subscribers as Kane Pixels on YouTube, has racked up more than 300 million views.
The inspiration for Backrooms came from a photo posted to an internet forum in 2019 showing, without context, a yellow space.
Parsons, then a teenager, told AFP that he saw the image as a “vaguely nostalgic and vaguely dreamlike but also very tangible science-fiction concept.”
His YouTube video of a young man lost in terrifying corridors amassed millions of views in a matter of days, and led to a contract with A24.
His endless nightmare is now on the big screen, starring Oscar-nominated actors Chiwetel Ejiofor and Renate Reinsve.
Barker went from an audience of 1.1 million subscribers on his channel That’s a Bad Idea to premiering Obsession at the Toronto International Film Festival in 2025.
The movie follows the horrifying consequences after a young man’s wish comes true, and the target of his romantic attention begins to love him more than anything else in the world.
Frank said very production company and studio in Hollywood right now is asking: “How can we replicate this?”
“Not just because they’re huge successes, but they’re also made for these limited budgets.”
But he warned it’s not just about finding successful YouTubers.
“It still requires just finding the great filmmakers, which can come anywhere.”
