Wire report
Analogue evil: why today’s horror film-makers are obsessed with obsolete tech
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 h
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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 h
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According to The Guardian’s linked report, Analogue evil: why today’s horror film-makers are obsessed with obsolete tech, 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 h
Context
The development sits in VINI’s Technology coverage for readers following technology, science, product policy, markets, infrastructure, and the public consequences of innovation. The original report is linked so readers can check the source account, follow later updates, and compare new coverage against the first published record. The linked report is dated 2026-08-05T09:00:15+00:00.
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Source
Primary source: Analogue evil: why today’s horror film-makers are obsessed with obsolete tech via The Guardian. VINI cites and links the source; it does not reproduce the publisher’s full article text without rights clearance.
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- Analogue evil: why today’s horror film-makers are obsessed with obsolete techThe Guardian - 2026-08-05T09:00:15+00:00
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