Lionsgate is looking beyond the traditional Hollywood talent pipeline to find its next horror hit. The studio, together with its subsidiary 3 Arts Entertainment, has launched Render Road, a new production banner that will develop, produce and finance projects for theatrical films, television and digital platforms. Led by 3 Arts manager-producers Luke Maxwell and Will Rowbotham, the venture aims to work with emerging online creators as well as established filmmakers. Its launch comes at a time when creator-led horror is generating significant box-office results and changing how studios identify the next generation of storytellers.
The timing of the initiative reflects a growing shift in the horror genre, where filmmakers who first build audiences through online platforms are increasingly finding opportunities to bring their ideas to cinemas. A24‘s Backrooms, directed by 19-year-old digital creator Kane Parsons, has reportedly earned more than $400 million worldwide, becoming the studio’s highest-grossing film. The feature developed from Parsons’ viral online series, which turned the idea of seemingly endless, unsettling corridors into an internet phenomenon before making the transition to the big screen. Its reported worldwide total has also surpassed that of The Mandalorian and Grogu, marking a significant achievement for a feature that originated from a young creator’s work on YouTube.
Curry Barker’s Obsession has added to this momentum. The horror film has reportedly collected more than $500 million worldwide, with figures placing its total at approximately $523 million. Like Parsons, Barker built an audience through digital work before moving into feature filmmaking. The success of these projects has demonstrated the commercial potential of horror stories that first find an audience online. Viewers who discover unsettling concepts through YouTube and social media are also willing to pay for theatrical experiences when those ideas are developed into feature-length films.
This is the audience Render Road hopes to reach. The banner is not limited to adapting existing internet properties or turning viral videos into feature films. Its broader objective is to identify emerging creative voices early and develop their ideas across different formats. Depending on the nature of a project, this could mean a theatrical release, a television production or digital distribution. Maxwell and Rowbotham will lead the initiative, drawing on their experience representing creators and helping emerging horror talent move into the film industry. The label is also expected to work with talent beyond 3 Arts Entertainment’s own client roster, giving it scope to identify filmmakers and creators from a wider pool.
One project that illustrates the growing connection between digital horror and established film industry talent is Portrait of God. Directed by Dylan Clark and starring Chase Infiniti, the film is based on Clark’s viral short and brings together Sam Raimi and Jordan Peele as producers for the first time. The project connects an emerging filmmaker with two established figures whose work has helped shape contemporary horror. It also demonstrates how a short-form online concept can become the foundation for a feature film supported by major industry names. Such projects provide an example of the creative and commercial possibilities that can emerge when online storytelling reaches a wider audience.
Render Road will also have Lionsgate’s established history in the horror genre behind it. The studio’s catalogue includes major properties such as the Saw franchise, The Blair Witch Project and House of 1000 Corpses. Its upcoming slate includes a new instalment in the Blair Witch franchise, directed by Dylan Clark, as well as a remake of Magic, the 1978 psychological horror film centred on a ventriloquist dummy, with Sam Raimi attached as director. These projects connect the new banner to familiar horror properties while it searches for original voices and ideas that could shape the genre’s future.
The shift towards creator-led filmmaking is not limited to Lionsgate. Markiplier’s self-financed and self-distributed adaptation of the video game Iron Lung reportedly earned around $50 million, demonstrating the theatrical potential of a project backed by a creator with an established online following. Hollywood has also shown growing interest in web-born horror properties such as The Mandela Catalogue and Siren Head. These concepts have developed communities through online storytelling, making them potential starting points for larger screen adaptations.
However, an established online following does not automatically guarantee a successful theatrical release. The challenge for studios is to identify ideas that can sustain a feature-length narrative while retaining the qualities that made them appealing online. A short video or digital series may generate attention through atmosphere, mystery or a distinctive visual concept, but adapting it for cinema requires a different approach to storytelling and audience engagement. Render Road’s emphasis on developing ideas across theatrical, television and digital formats gives the initiative the flexibility to explore projects according to their individual strengths rather than following a single production model.
Render Road is positioned to connect those emerging voices with the resources and industry experience required to develop their ideas into larger productions. Its success will ultimately depend on the projects it identifies and its ability to translate online creativity into compelling films and series. The next filmmaker to make a significant impact on horror may not emerge through film school or a traditional studio development programme. They may already be building an audience, one unsettling video at a time.