The Hollywood Uprising: How Gen Z and Horror Are Redefining Cinema
Something extraordinary is happening in Hollywood, and it’s not just about box office numbers. It’s about a seismic shift in how we think about movies, who makes them, and who watches them. Two low-budget horror films, Backrooms and Obsession, have not only outperformed megabudget franchises like Masters of the Universe and Star Wars: The Mandalorian and Grogu—they’ve shattered the industry’s long-held assumptions. Personally, I think this is more than just a blip; it’s a revolution, and it’s being led by Gen Z.
What makes this particularly fascinating is how these films are flipping the script on Hollywood’s traditional playbook. For decades, the formula was simple: throw money at a proven IP, slap on some star power, and watch the cash roll in. But Backrooms and Obsession are proving that audiences—especially younger ones—are craving something different. These films are dark, original, and deliberately ambiguous, leaving viewers with more questions than answers. In my opinion, that’s exactly why they’re resonating. Gen Z isn’t just looking for entertainment; they’re looking for something to dissect, debate, and obsess over.
One thing that immediately stands out is the budgets. Obsession was made for a mere $1 million, while Backrooms clocked in at $10 million. Compare that to the $200 million spent on Masters of the Universe or the $165 million for The Mandalorian and Grogu. What this really suggests is that the old ‘spend big to win big’ model is crumbling. These low-budget horrors are not just profitable—they’re cultural phenomena. Obsession, for instance, is the first film since E.T. in 1982 to see its box office numbers rise in its second and third weekends. That’s not just impressive; it’s historic.
But here’s where it gets even more intriguing: the directors of these films are barely out of their teens. Curry Barker, the mastermind behind Obsession, is 26, and Kane Parsons, who directed Backrooms, is just 21. What many people don’t realize is that these filmmakers didn’t come up through the traditional Hollywood pipeline. They honed their craft on YouTube, building audiences and experimenting with storytelling long before they ever set foot on a studio set. If you take a step back and think about it, this is a game-changer. The next generation of filmmakers isn’t waiting for permission—they’re making their own rules.
This raises a deeper question: who is the audience for these films? Gen Z, of course. According to recent surveys, 87% of Gen Zers have seen at least one film in cinemas in the past year, compared to just 58% of baby boomers. What’s more, they’re going to the movies more frequently—around seven times a year. From my perspective, this isn’t just about watching a film; it’s about the experience. Cinemas are becoming ‘third spaces’ for Gen Z, places to escape doomscrolling and connect with friends. Horror, with its communal screams and gasps, fits perfectly into this dynamic.
A detail that I find especially interesting is how these films are designed for discussion. Backrooms leaves its plot deliberately ambiguous, while Obsession stretches a romantic obsession to a disturbing extreme. These aren’t just movies; they’re conversation starters. In a world where Gen Z spends hours dissecting every detail online, films that invite interpretation are gold. Compare that to Masters of the Universe or The Mandalorian and Grogu, which feel more like nostalgia trips than fresh experiences.
Of course, this doesn’t mean the end of big-budget blockbusters. Hollywood is nothing if not risk-averse, and franchises like Spider-Man and Toy Story will continue to dominate. But the writing is on the wall: studios can no longer rely on IP alone to guarantee success. As Jeremy Kay from Screen International points out, there will be a greater emphasis on films that cater to younger audiences, especially from nimble studios like A24 and Focus Features.
What this really suggests is that cinema is evolving—and it’s being driven by the passion projects of young creators and the demands of Gen Z viewers. Innovative, economically viable films that actually have something to say? It’s a crazy idea, but it might just save the industry.
In the end, what’s most exciting about this moment is its unpredictability. Hollywood’s old guard is being forced to adapt, and the next wave of filmmakers is coming from places we never expected—YouTube, TikTok, even their own bedrooms. Personally, I can’t wait to see what they do next. Because if Backrooms and Obsession are any indication, the future of cinema isn’t just bright—it’s terrifyingly exciting.
