THE APEX TIMES
A privately produced horror film reported to have cost about $750,000 has drawn enough ticket sales to pass the latest Star Wars release at the box office, according to a new report.
A horror film titled “Obsession,” described in a June 12 report as a low-budget relationship drama built around a cursed wish, has drawn commercial attention after it reportedly passed the latest Star Wars movie at the box office during its current run.
The film is being discussed as an outlier in Hollywood’s high-budget ecosystem because published figures vary on how much it cost. The report cites two different budget-related numbers, $750,000 and $15 million, depending on whether one counts the production budget or an acquisition figure associated with the studio’s involvement.
The report also characterizes “Obsession” as having developed traction with younger audiences, including Gen Z, framing its appeal as part of a wider cultural conversation that has been unusual for a genre release focused on horror and personal relationships. It describes the movie’s central premise as revolving around a wish that is said to carry consequences for a couple.
In the same reporting, “Obsession” is described as having achieved a box-office standing that has allowed it to overtake the current Star Wars installment. The report further says it is set to outgross the Star Wars film, suggesting continued momentum for an independently produced title even as major studio franchises continue to dominate theater attendance.
While the report ties the film’s rise to audience interest and a distinctive narrative hook, it does not indicate that the production process involved the kind of franchise infrastructure typically associated with blockbuster distribution. Instead, it emphasizes the unexpected scale of the film’s reported financial footprint relative to the broader theatrical market.
For theaters and distribution partners, the outcome underscores the continuing risk and variability in theatrical performance, particularly where budgets and acquisition terms can differ from public-facing “cost” figures. For studios and rights holders, it also illustrates how release windows and audience targeting can affect performance against major brand competition.
If “Obsession” continues to hold its lead, the immediate next step for audiences and industry watchers will be how long it maintains theater counts and whether its reported performance persists through the remainder of its run, compared with the competing franchise title. The report’s budget discrepancy also sets up ongoing scrutiny over how production costs and acquisition costs are presented in public discussions of film economics.