Thematic resonance means everything to our generation, and we exist in a time where we desperately need something to connect over. The answer for Gen Z in 2026? “Backrooms” and “Obsession.”
In May, A24’s “Backrooms” and Focus Features’ “Obsession” — two incredible horror productions — hit theatres and disrupted the film industry, making box office history.
At just 20 years old, YouTube filmmaker and “Backrooms” director Kane Parsons became the youngest director in history to have a number-one movie at the box office. Furthermore, the feature adaptation of his viral web series opened to $81 million domestically, which dominated A24’s previous studio record, “Civil War.”
On the other hand, “Obsession” was directed by Curry Barker, a 26-year-old YouTube comedian whose film achieved what no film had done since Steven Spielberg’s “E.T.” in 1982: growing its ticket sales week-over-week for three consecutive weeks. Made on a tiny budget of just $750,000, this historic film climbed its way around the globe to garner nearly $350 million.
But these films aren’t only receiving praise for their unprecedented monetary success — they also snatched the hearts of Gen Z audiences across the globe.
Within the liminal spaces and messy love, these two films reveal a generation plagued by existential anxiety, deep isolation and pure economic uncertainty.
The “Backrooms” concept, which originates from an eerie, endless maze — the found footage, if you will — of sickly yellow wallpaper, appeals to those who feel trapped in a repetitive, isolating loop. Moreover, it reflects an underlying trauma over lost time, and even mourning the death of traditional physical community spaces like malls or parks.
Our generation faces a social media world defined by ambiguity — where traditional societal rules, identities and time are suspended. And therefore, we begin to lose appreciation for the openness of the world and turn our minds to its confines instead.
Clark, “Backrooms” co-protagonist, played by Chiwetel Ejiofor, is a man whose livelihood as a furniture salesman depends entirely on physical spaces — places where people can come together to build a home.
A very real fear among this generation is the worry that we may never own a place of our own — or even garner well-paying jobs that can promote and ensure financial stability. And the timing of “Backrooms” couldn’t be more perfect.
Just recently, President Trump shared with Americans that he would refuse to sign the ROAD to Housing Act until Congress passes the SAVE America Act, which requires individuals to provide proof of citizenship and identification when registering to vote.
The major housing bill would restrict corporate investors, streamline construction, promote manufactured housing, as well as expanding financing and grants to Americans. And without this crucial legislation in place, we will continue to be trapped in the liminality of the housing crisis.
We also exist in a time where love is messy, unexpected and in some cases, insanely twisted.
In “Obsession,” Barker introduces viewers to the intricacies of a warped, possessive romance. This genre of romance sparks deep concerns: psychological manipulation, abuse and the difficulty of truly knowing people in a hyper-connected, yet artificial, digital world.
Bear, the central character in “Obsession,” is terrified of an unpredictable future — specifically regarding the uncertainty of never obtaining love or being rejected. Instead of doing the work to build genuine intimacy, he uses the supernatural to force Nikki to love him.
And unfortunately, her lack of agency is the reason she’s in this unenviable position. Because of Bear’s selfish wish, she loses control of her body and consciousness to a violent entity.
A profound fear of the unpredictable is another fear that our generation bears. We’re bound in curiosity about what will happen next, asking ourselves when we will finally obtain love, or if we will pass this final exam and even questioning when we will perish from the Earth.
But the culminating message of these films is this: they reflect a profound sense of feeling disconnected from others. Plastered with socially isolated, unhappy protagonists, we define the structural blueprints of these films: lonely, trapped and deceived by the mask of the social fabric.
“Backrooms” and “Obsession” took bold, raw stabs at our generation, and therefore, we should welcome them with open arms.
