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Horror Movie Breaks Endgame Box Office Record with Low Budget


<em>Obsession</em> continues to thrive at the box office, achieving a significant milestone during its fourth full week in theaters.

Released on May 15, 2026, Obsession marks the feature directorial debut of YouTube sketch comedian Curry Barker. Produced by Blumhouse Productions and distributed in the United States by Focus Features, the film explores the consequences faced by young music shop employee Bear (Michael Johnston), who wishes his long-time crush Nikki (Inde Navarrette) would love him more than anyone else. Despite a production budget of only $750,000, the film has become a phenomenal success, surpassing the $200 million global mark and becoming the highest-grossing horror film of 2026 to date, outpacing Scream 7 and Backrooms.

According to TheWrap, on its 25th day in theaters, Obsession generated $4.2 million at the domestic box office. This sleeper hit has experienced remarkably low week-on-week declines, earning more in that single day than the entire domestic runs of films such as Nirvanna: The Band – The Show – The Movie ($4 million), The Moment ($3.9 million), Pillion ($3.8 million), and Psycho Killer ($2.5 million).

Furthermore, the domestic gross for day 25 of Curry Barker’s Obsession exceeds that of the same day for the three highest-grossing films in domestic box office history: Star Wars: Episode VII – The Force Awakens ($3.1 million), Avengers: Endgame ($3.2 million), and Spider-Man: No Way Home ($2.4 million).

While Obsession was outperformed by the No. 4 and No. 5 all-time hits at the domestic box office, Avatar ($5.1 million) and Top Gun: Maverick ($7.9 million), it has ultimately achieved a better day 25 than eight of the top ten highest-grossing films in North America. Below is a breakdown of day 25 performance for the all-time top ten movies at the domestic box office (not adjusted for inflation):

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Title

Day 25

Domestic Total

Star Wars: The Force Awakens (2015)

$3.1 million

$936.7 million

Avengers: Endgame (2019)

$3.3 million

$858.4 million

Spider-Man: No Way Home (2021)

$2.4 million

$804.8 million

Avatar (2009)

$5.1 million

$785.2 million

Top Gun: Maverick (2022)

$7.9 million

$722 million

Black Panther (2018)

$4 million

$700.4 million

Avatar: The Way of Water (2022)

$3.5 million

$688.4 million

Avengers: Infinity War (2018)

$2.7 million

$678.8 million

Titanic (1997)

$2.2 million

$674.3 million

Jurassic World (2015)

$4.1 million

$653.4 million

This level of retention is virtually unprecedented, especially considering that Obsession‘s initial three-day opening weekend brought in only $17.2 million. Remarkably, it earned $4.8 million on its first Sunday, which is just over half a million more than what it made three full weeks later. The film has shown almost no signs of slowing down after becoming the first movie since 1982 to earn more during its second and third weekends compared to its previous weekends, as well as achieving the smallest weekend four drop for a horror film in history, surpassing 1999’s The Blair Witch Project..

The achievement is even more remarkable given that this 2026 horror film was produced for less than $1 million. All films in the top ten had significantly higher production costs, with the lowest being around $150 million for Jurassic World.. Consequently, aside from breaking their day 25 records, Obsession ‘s earnings are much greater relative to its budget; its cumulative domestic gross of $161.2 million indicates it has already made over 214 times its initial budget in North America alone.

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If Avengers: Endgame ‘s earnings were proportional to its budget, it would have grossed approximately $76 billion at the domestic box office—more than all top ten films combined have earned worldwide. Although Obsession ‘s scale is much smaller than those blockbusters, its consistent chart presence suggests it may continue to break similar records as it maintains its impressive run....................

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obsession-poster.jpg




Date de sortie :

Mai 15, 2026

Duree :

108 minutes

Metteur en scène :

Curry Barker

Curry Barker

Curry Barker




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Sarah Parker
Sarah Parker is a research analyst and content contributor with a strong interest in business strategy, organizational behavior, and social development. With a background in sociology and public policy, she focuses on exploring the intersection between research and real-world application. Sarah regularly contributes articles that bridge academic insights and practical relevance, aiming to foster critical thinking and innovation across sectors.