From Obsession to Teenage Sex and Death at Camp Miasma, a new wave of movies are ditching minimalism for retro settings
The indie-horror hit films Obsession and Backrooms opened this summer’s movie season with a bang, each grossing hundreds of millions of dollars and turning out legions of younger moviegoers. Many have pointed out the similarity between the films: both were made for comparatively minuscule budgets by gen Z directors – Curry Barker and Kane Parsons – who first rose to prominence on YouTube.
Fewer people are talking about the other quality the two movies share: a steady stream of analogue props and production design that plunges you into some bygone pre-digital era. Obsession’s lead characters Bear and Nikki work at a mom-and-pop music store, take rides in Bear’s vintage station wagon and the plot centers around a kitschy, old-fashioned gag gift. In Backrooms, Mary hawks her self-help cassette tapes on late-night infomercials, Clark smacks his TV to adjust the fuzzy signal – in the HDTV age, no one has done this for decades – and the wall-to-wall carpeted, ceiling-tiled backrooms look straight out of a long-abandoned office park on the side of the highway.
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From Obsession to Teenage Sex and Death at Camp Miasma, a new wave of movies are ditching minimalism for retro settingsThe indie-horror hit films Obsession and Backrooms opened this summer’s movie season with a bang,...
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