Thescreescore – The cinematic landscape of summer 2026 witnessed an unprecedented shake-up, largely orchestrated by A24’s breakout horror phenomenon, Backrooms. Helmed by the remarkably talented 21-year-old director Kane Parsons, whose vision sprang from his popular creepypasta web series, the film captivated audiences worldwide. Starring the formidable Chiwetel Ejiofor as a furniture store proprietor who stumbles upon a chilling, yellow-hued liminal dimension beneath his showroom, Backrooms defied expectations. Unleashed on May 29th, just after the traditional Memorial Day kickoff for the summer blockbuster season, this indie gem has amassed a staggering $402 million globally against a modest $10 million budget, cementing its place as A24’s most lucrative release to date.
According to industry reports, Backrooms‘ sustained success, crossing the $400 million global threshold after a robust twelve-week theatrical run, proved instrumental in A24’s surprising ascent in the domestic market. The independent powerhouse secured the fourth position among distributors during the fiercely competitive summer season, capturing a significant $237 million from its collective theatrical offerings. This impressive feat saw A24 outmaneuver long-established studio giants like Warner Bros. ($165 million) and Paramount ($192 million) in market share. While still trailing behind the titans — Disney ($664 million, primarily from Toy Story 5), Sony ($978.8 million, bolstered by Spider-Man: Brand New Day), and Universal ($1.12 billion, driven by Obsession and The Odyssey) — A24’s performance represents an extraordinary surge for a company not typically associated with high-stakes summer blockbusters.
Beyond the colossal success of Backrooms, A24’s summer slate included other noteworthy releases, such as Olivia Wilde’s comedy The Invite, which garnered $26 million domestically and $55.7 million worldwide, and the Anthony Bourdain biopic Tony, earning $15 million domestically and $18.3 million globally. However, not all ventures were equally triumphant, with Michael Sarnoski’s drama The Death of Robin Hood seeing a modest $5.3 million domestic return. Crucially, A24’s remarkable summer was also buoyed by the unexpected stumbles of its major studio rivals. Warner Bros. faced a significant setback with DC Studios’ Supergirl, a costly disappointment that only managed $126.4 million worldwide against a reported budget exceeding $170 million. While Evil Dead Burn delivered a healthy profit ($72.3 million on a $20 million budget), their dinosaur epic The End of Oak Street underperformed, pulling in $119 million against an estimated $90 million production cost. Similarly, Paramount, despite a solid showing from the horror-comedy sequel Scary Movie ($231.9 million against $30 million), released several mid-tier films like Jackass: Best and Last ($27.8 million on $10 million) and Paw Patrol: The Dino Movie ($147 million on $40 million) that, while profitable, didn’t achieve blockbuster status. In a testament to its singular impact, Backrooms individually outgrossed the majority of these competing studio offerings.
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The question now looms large: can A24 sustain the extraordinary momentum ignited by Backrooms? The studio recently found itself embroiled in controversy following its announcement of a partnership with Google to explore AI filmmaking tools, a move that could potentially tarnish its carefully cultivated indie reputation. Nevertheless, A24’s future slate promises compelling projects. While their summer 2027 calendar remains unconfirmed, anticipation is high for the video game adaptation of Elden Ring. Furthermore, the visionary Kane Parsons is reportedly attached to develop Backrooms 2, suggesting a continuation of the franchise that redefined A24’s summer fortunes.
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