The 2026 movie slate has added a major box office success with Backrooms, the A24 horror film adapted from Kane Parsons’ web series and the viral creepypasta of the same name. Released in late May, the movie quickly became one of the year’s biggest entertainment stories after opening to $81.5 million domestically and $118 million worldwide. Its performance has drawn attention across the industry, not only because of its commercial strength, but because it comes from such an unusual and niche property.
According to a source cited by Puck, the film’s success was described as “cathartic” during a meeting at 3 Arts Management, the company that represents Parsons. The reaction reportedly reflects a broader sense of relief among some industry professionals, who see Backrooms as proof that original or internet-born ideas can still break through in a marketplace still dominated by large franchises and familiar intellectual property. One insider suggested the result could influence studio decision-makers to take more chances on unconventional projects, saying that executives like Sony Pictures chief Tom Rothman may now have to “take some risks.”
That idea stands in contrast to the current studio landscape, where companies such as Sony, Disney, and Warner Bros. continue to rely heavily on major brands and franchise titles. Sony, for example, is preparing to release big sequels and branded films later in the year, including Spider-Man: Brand New Day and Jumanji: Open World. While franchise films like Marvel, Toy Story, and Minions remain dependable draws, Backrooms has emerged as a reminder that audiences are still open to something different when the concept is strong enough.
The film has also benefited from critical attention, with reviewers praising its unsettling atmosphere and effective horror elements. The story follows a group of people trapped in a seemingly endless maze of rooms beneath a furniture store, creating a tense and disorienting experience that has resonated with viewers. Its eerie premise and psychological dread have helped distinguish it from more conventional studio horror offerings.
Backrooms is also a significant achievement for A24, becoming the studio’s biggest theatrical opening ever. Made on a reported $10 million budget, the movie has already grossed more than $145 million worldwide, making it a major financial win as well as a cultural one. For 20-year-old Kane Parsons, the result is even more historic: he has become the youngest filmmaker to direct a No. 1 movie at the U.S. box office.
The film’s success has arrived alongside another surprise hit, Obsession, a horror film from former YouTuber Curry Barker, which has also performed strongly in theaters. The simultaneous rise of both films has sparked praise from Blumhouse and renewed conversation about the creative potential of online-born filmmakers crossing into cinema.
Backrooms ends in a way that leaves room for a sequel, and Parsons has already shown interest in continuing the story. Given the movie’s box office results and industry buzz, a follow-up now seems highly likely. For now, Backrooms stands as a rare example of a risky, unconventional project finding mainstream success in a cautious theatrical market.
