Liminal Horror Breaks Through: 'Backrooms' Poised for Record-Breaking Debut
A24's "Backrooms," directed by 20-year-old Kane Parsons, is tracking for a domestic opening weekend of $70 million or more, according to industry projections. If realized, that figure would mark the studio's biggest-ever debut, surpassing all previous A24 releases by a wide margin.
The film, which expands on Parsons' viral YouTube series launched when he was a teenager, hits theaters Friday, May 29, amid extraordinary momentum. As of Wednesday, "Backrooms" holds an 87 percent score on Rotten Tomatoes, with critics praising its atmospheric dread while some note its narrative limitations.
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Box Office Forecast and Competition
The projected $70M+ opening comes during a remarkable period for horror at the box office. Focus Features and Blumhouse's "Obsession" remains the number one film in the country in its third weekend, with estimates showing it could actually increase its weekend gross from Week 2 to Week 3—an extremely rare phenomenon for a wide release. "Obsession" earned an estimated $5.6 million on Wednesday alone.
By comparison, Lucasfilm's "The Mandalorian and Grogu" is facing a steep 65-70% drop in its second weekend, projected to post under $30 million. The fact that two original horror films are outperforming a major Star Wars release signals a fundamental shift in theatrical audience behavior.
Comedian Nate Bargatze's family comedy "The Breadwinner" opens in the $8-10 million range, serving as counterprogramming but unlikely to challenge the horror dominance.
The Rise of YouTube Auteurs
"Backrooms" director Kane Parsons represents a new wave of filmmakers who built massive audiences online before transitioning to theatrical features. Starting with a single short film in January 2022—inspired by the infamous HobbyTown creepypasta image—Parsons expanded his liminal horror universe across more than 20 YouTube shorts before landing a deal with A24.
At just 20 years old, Parsons is already drawing comparisons to "Obsession" director Curry Barker, 26, whose film also emerged from online roots. Both directors exemplify how Gen Z audiences are driving theatrical attendance for filmmaker-driven horror storytelling over legacy franchises.
Defending the Director
Online rumors questioning Parsons' involvement in the film prompted star Mark Duplass to defend the young filmmaker publicly. "When I was there, Kane was 100% in control," Duplass wrote on X. "More so than many directors 3x his age." The film also stars Chiwetel Ejiofor, Renate Reinsve, Finn Bennett, and Lukita Maxwell, with a script by Will Soodik. Horror veterans James Wan and Osgood Perkins serve as producers.
Critical Reception and Narrative Approach
Critics have generally embraced "Backrooms" for its commitment to atmosphere and its roots in internet-era horror. The Hollywood Reporter's Angie Han noted that while "eeriness for its own sake has its limits," the film effectively channels the unsettling quality of liminal spaces. The Daily Beast's Nick Schager compared the film to David Lynch's "Lost Highway," calling it "a descent into an uncanny-valley net."
The film follows therapist Dr. Mary Kline (Reinsve), who enters an alternate dimension after her patient Clark (Ejiofor) disappears inside it. Clark, a failed architect and furniture store owner, discovers a portal in his basement leading to an endless, impossible space known as "The Backrooms" or "The Complex."
The Mythology Behind the Movie
Parsons' feature expands on the internet-born creepypasta mythology. The Backrooms are accessible through invisible portals hidden in ordinary locations—a furniture store basement, a busy highway. A mysterious organization called the Async Research Institute built a "Threshold" door into the space and sends researchers to explore its many levels. The film adapts this lore while adding character-driven drama, blending found-footage sequences with traditional narrative filmmaking.
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Broader Implications for Hollywood
The simultaneous success of "Obsession" and "Backrooms" represents a watershed moment for the theatrical market. Original genre films—particularly horror—are demonstrating commercial dominance over established IP. Studios are seeing massive turnout for filmmaker-driven storytelling rather than relying solely on sequels and cinematic universes.
This shift has immediate economic consequences. "Obsession" filmmaker Curry Barker has already received an eight-figure offer for his next movie, and he hasn't even pitched it yet, according to exclusive reporting. A24, known for elevating genre fare to prestige status, stands to gain significantly from "Backrooms" performance, potentially reshaping its release strategy for future projects.
Gen Z Driving Change
Analysts point to Gen Z audiences as the primary force behind this trend. Younger viewers, who grew up on YouTube and TikTok horror content, are responding enthusiastically to fresh intellectual property. The success of "Backrooms" suggests that the line between online content and theatrical releases continues to blur, with internet-native filmmakers bringing built-in audiences and cultural cachet to multiplexes.
As one box office analyst noted, "Two horror movies overtaking a new Star Wars release would have seemed unthinkable a decade ago." The data suggests this is not a fluke but a structural change in how audiences engage with theatrical film.
What Comes Next
With its strong critical reception and massive opening weekend projections, "Backrooms" is well-positioned for sequel discussions. The film's ending, which involves significant character deaths and unresolved mysteries about Async and the nature of the Backrooms, leaves ample room for continuation. For A24, a franchise built on liminal horror could become one of the studio's most valuable assets.
For now, all eyes are on this weekend's box office numbers. If projections hold, "Backrooms" will not only make history for A24 but also cement the arrival of a new generation of filmmakers who understand how to translate internet culture into mainstream theatrical success.
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