[Edaily Starin YUN GI BACK Reporter] The movie “Obsession” is enjoying an unexpected box office success in South Korea, fueled by strong support from audiences in their 20s. This hit film, which grossed over 680 billion won worldwide on a production budget of approximately 1 billion won, is rapidly making its mark in South Korea as well, particularly among young audiences.

According to the Korean Film Council’s integrated computer network on the 5th, “Obsession” drew 31,564 viewers on the 4th alone, ranking second at the box office. Its cumulative audience stands at 78,217.
Having debuted in third place on opening day, “Obsession” subsequently surpassed “Spider-Man: Brand New Day” to climb to second place. Considering that it is a horror film rated “No Minors Allowed” rather than a major franchise, this is a remarkable early performance.
The demographic driving its domestic success is also clear. According to CGV, as of the 4th, viewers in their 20s accounted for 52% of “Obsession” ticket sales—more than half. Those in their 30s followed at 23%. This means that three out of every four ticket buyers are in their 20s or 30s.
In particular, the high proportion of viewers in their 20s aligns with how “Obsession” found success overseas. Director Curry Barker, born in 1999, is a creator who started out making comedy and low-budget videos on YouTube. He wrote, directed, and edited “Obsession” himself—a project he conceived while working as a Starbucks barista to make ends meet.
The production scale was so small that it’s hard to compare it to a Hollywood commercial film. The production budget was $750,000 (approximately 1 billion won), and the shooting period lasted only 20 days. However, after its release, the film spread through word of mouth and social media, grossing $505.69 million (approximately 682.4 billion won) in theaters worldwide. In simple terms, this represents box office revenue exceeding 680 times the production budget.
Of course, since this box office revenue does not account for marketing and distribution costs, it cannot be directly interpreted as a 600-fold “return on investment.” Nevertheless, the scale of success achieved by this ultra-low-budget horror film in the global market—driven solely by its concept and word of mouth—is extraordinary.
The film’s premise is also one that young audiences can easily relate to. It begins with a man wishing to be loved by the object of his unrequited affection, but as the love he desires turns into uncontrollable obsession and madness, the romance quickly turns into horror. Indie Neveretti’s performance as Nikki also leaves a strong impression. Her shifts between an endearing demeanor and chilling madness serve as a key device that amplifies the film’s horror.
Ultimately, the “20s, 52%” figure emerging in Korea carries significance beyond a simple age-based statistic. This is because young Korean audiences are among the first to respond to a film that sparked a global box office sensation thanks to the sensibility and ingenious premise of a director in his 20s who got his start on YouTube.
It remains to be seen whether “Obsession”—which generated box office revenue overseas exceeding 600 times its production budget—will continue its unexpected box office success in Korea, building on the support of the 20s demographic.