For a while now, Hollywood has been wondering how to captivate the younger crowd—Gen Z. They love their Marvel movies, but when it comes to going to theaters, attendance isn’t what it used to be, especially compared to the 1980s.
This year, things have started to change. Films like A24’s Backrooms made a significant impact, raking in $81.4 million domestically and $118 million worldwide. Markiplier, a YouTube sensation, also made waves with his indie film Iron Lung, which opened to $17.8 million. Focus Features’ Obsession had a solid start too, grossing $17.1 million initially, ultimately becoming their highest-grossing film in the U.S. with $104.7 million. What’s noteworthy is that Kane Parsons, the director of Backrooms, is just 20 years old, making him the youngest filmmaker to debut at number one.
Interestingly, the success of Backrooms, Obsession, and Iron Lung marks a shift in how low-budget indie films can thrive—creative ideas, minimal marketing budgets, and strong connections with fans.
Historically, attempts to engage YouTube’s audience haven’t always been successful. Take Rooster Teeth, known for their hit series Red vs. Blue. They ventured into films with the crowdfunded Lazer Team, but without major studio backing, it only made $1.1 million. Warner Bros. later shut them down due to industry challenges, highlighting the volatility of the market.
Backrooms and Obsession are polar opposites. Obsession is an original horror film, while Backrooms stems from a creepy internet legend about people getting trapped in endless hallway mazes. The original myth began in 2019 on 4chan. Parsons, also known as Kane Pixels, took this concept and brought it to life with his unique style, gaining over 224 million views across various platforms.
Interest in Backrooms surged quickly. Early predictions suggested a $20 million opening but went way beyond that. While Gen Z can be unpredictable in their tastes, positive buzz propelled this indie hit.
A24 saw that Backrooms had a dedicated audience and crafted a marketing strategy to engage them directly on platforms like YouTube, TikTok, and Reddit, rather than using traditional methods. They tapped into the existing community that had already built the lore around the film. For instance, they bought a billboard in Oshkosh, a nod to its origins, which sparked excitement online.
In just 24 hours, the trailer for Backrooms became A24’s most viewed, thanks to social media. Ahead of its release, a study showed that nearly 80% of young people prefer watching shows on platforms like YouTube or TikTok instead of traditional TV or theaters.
According to a recent UCLA report, 92% of Gen Z trusts influencer recommendations more than traditional ads. This connection underscores how important it is for creators to engage with their fan base. It seems the pandemic also pushed Gen Z to seek more experiences outside their screens, wanting to visit theaters as a break from the digital world.
Peter Chernin, a producer for Backrooms, believes this audience is eager for entertainment. The success of these films shows that it’s crucial to attract young moviegoers. The shift might mean Hollywood is finally learning to connect with the YouTube generation.
In short, as the industry adapts and explores new ways to engage audiences, it’s clear that today’s youth are ready to embrace what Hollywood offers—if only it meets them where they are.
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