Veteran filmmaker Steven Spielberg used his own premiere event to commend two modestly funded horror movies that have smashed box‑office expectations. "Obsession" and "Backrooms" earned $151.3 million and $118 million respectively, despite budgets under $10 million, underscoring a growing appetite for inventive,low‑cost genre fare.

Obsession's $151.3 million domestic haul

According to the Evolve Media report, "Obsession" opened on May 15 and quickly became Focus Features' highest‑grossing domestic release, pulling in $151.3 million across the United States. the film follows a music‑store clerk who acquires a wish‑granting toy, spiralling into a nightmarish romance, and its word‑of‑mouth buzz was powered by lead performances from Michael Johnston and Inde Navarrette.

Backrooms turns $9‑10 million budget into $118 million worldwide

Backrooms, produced on a lean $9‑10 million budget, has amassed $81.4 million domestically and $118 million globally, positioning the project as a potential franchise starter. The movie adapts the long‑standing creepypasta about endless office corridors and features a cast that includes Chiwetel Ejiofor, Renate Reinsve, and Mark Duplass.

Spielberg’s endorsement at Disclosure Day premiere

During the screening of his upcoming thriller "Disclosure Day," Spielberg singled out the two horror titles, calling "Obsession" a "remarkable achievement given the shoestring budget." He added that he intends to watch "Backrooms" after his promotional duties,a comment that signals industry validation for indie horror creators, as the source noted.

A24’s youngest director Kane Parsons breaks age record

Backrooms was helmed by Kane Parsons, who at 20 became A24’s youngest ever filmmaker. His ability to translate an internet myth into a polished theatrical experience demonstrates how streaming‑era talent can leapfrog traditional studio pipelines, a trend that may encourage studios to scout younger voices for high‑concept projects.

Unverified claim: Spielberg’s view of Backrooms

The report mentions Spielberg has not yet seen "Backrooms," yet he offered high praise based on early screenings and box‑office data. This raises a specific question:how much of his endorsement is driven by financial performance versus artistic merit? As the source indicated, the lack of a personal viewing leaves that assessment open.