Timed to the 50th anniversary of “The Rocky Horror Picture Show”/ They’ve Seen the Same Movie 1,000 Times, and They’re Not Stopping

IndieWire talks to five cult-movie obsessives who are keeping gems like “The Room” and “Somewhere in Time” alive

April marks the 50th anniversary of “The Rocky Horror Picture Show‘s” debut as a midnight movie at New York City’s Waverly Theater. It is the longest-running theatrical release in movie history.

“Rocky Horror” is the Rosetta Stone of cult films, that elusive stratum of film appreciation that cannot be manufactured. As programmer Mike DeLorenzo told IndieWire, “Slapping ‘instant cult classic’ on a poster doesn’t make the film one. The public does.” Many cult films, from John Carpenter’s “Big Trouble in Little China” to Mike Judge’s “Office Space,” failed during their initial runs but achieved cult status later.

Cult film audiences feel an ineffable connection to a film and to each other. Part of an outcast film’s appeal is the sense that: “They don’t get it — we do.” They gather at periodic screenings as a close-knit community to express their love.

In spirit of the “Rocky Horror” 50th, IndieWire spoke to passionate devotees like Scott MacGillivray, who saw his first Laurel and Hardy movie in 1965. He is now a leader in “The Sons of the Desert,” an appreciation society co-founded in 1965 devoted to the preservation of their films. Sixty-one years later, the society thrives with 48 chapters in America and dozens more internationally. Members meet monthly to watch hours of Laurel and Hardy and Buster Keaton shorts, keeping the old guard of comedy alive.

the “Sons of the Desert” takes its name from one of Laurel and Hardy’s finest films, adopting both the organization’s name and its anthem from the movie. Scott MacGillivray notes that the duo’s universal appeal and unwavering loyalty to each other have influenced everyone from children to Samuel Beckett. He believes it is now up to the “Sons” to keep their legacy alive after decades of absence from television.

Similarly, 54-year-old Jim Hetzer credits “The Rocky Horror Picture Show” with shaping his life. As the creator of the longest-running “Rocky Horror” website, Hetzer emphasizes that the film provides a sanctuary where “misfits fit in.” Having first seen the film on May 23, 1994, he eventually found a close-knit community through the shadow cast. Whether attending in a business suit or a giant chicken costume, Hetzer says the environment is one of total acceptance: “Welcome to the show.”

Jim Hetzer, now living in Scranton, Pennsylvania, estimates he has seen “Rocky Horror” upwards of 1,000 times and performed in nearly 800 shows. A recipient of prestigious community awards, Hetzer credits the film with giving him the confidence to perform before large audiences and pursue a career as an author. He considers meeting executive producer Lou Adler a pinnacle of his life.

Meanwhile, the 1980 romantic fantasy “Somewhere in Time” has found an unlikely afterlife. Despite poor initial reviews, it developed a devoted following through cable and home video. Steve Ellis, 71, has served for nearly 30 years as the emcee for the annual “Somewhere in Time Weekend” at Michigan’s Grand Hotel, where the movie was filmed. Ellis describes the shared experience of 700 fans watching the film in its original premiere theater as “absolutely amazing,” a tradition where attendees stand to greet one another before the screening begins.

Steve Ellis, an English professor at the University of Toledo, was there from the beginning. Having witnessed the filming of “Somewhere in Time” on Mackinac Island as a young man, he recalls being perhaps the only person in the theater who liked it during its initial run. The film later gained traction through early cable television. Ellis, who has seen the film roughly 80 times and authored a trivia book on it, cherishes his long-standing friendships with stars Christopher Reeve and Jane Seymour.

On the other hand, Michael Rousselet’s connection to “The Room” is so profound that he even referenced it in his wedding vows. “The Room,” often cited for its technical ineptness, achieved cult status as an interactive experience thanks to early champions like Rousselet. He first encountered the film in 2003 after seeing a confusing trailer. Rousselet recalls a humorous moment at the theater when the ticket taker tried to talk him out of attending, and a sign warned that no refunds would be given after the first 15 minutes—as if the cinema itself were daring the audience to survive the screening.

Michael Rousselet and his friends were so ecstatic during their first viewing of “The Room” that they began calling friends to join them before the movie even ended. Over the next three nights, they saw it four times, bringing over 100 people. It was Rousselet who inspired the audience to yell “Spoons!” at the sight of inexplicable framed photos of cutlery—a heckle that evolved into the now-famous tradition of throwing plastic spoons at the screen.

Rousselet, now 42 and a director of his own cult project Dude Bro Party Massacre 3, has seen “The Room” over 200 times and even made a cameo in James Franco’s The Disaster Artist. He insists his love for the film is genuine, stating, “The Room is constantly rewarding you. The main character isn’t Johnny; it’s the movie itself.”

Meanwhile, Mike Cheslik’s independent film “Hundreds of Beavers” has become a lifeline for Seattle’s cinematic community. Fan Jack Bereiter notes that the film ran monthly for two years at the Grand Illusion Cinema. Although the theater lost its lease in 2025, the film’s cult following remains strong; Central Cinema has taken over the screenings, with 60 percent of ticket sales going toward the Grand Illusion’s relocation fund, proving that cult films can truly sustain the venues that nurture them.

Trevor Brandt, lead programmer at the Grand Illusion, credits “good old-fashioned word of mouth” for the growing cult status of “Hundreds of Beavers.” He notes that during screenings, roughly 80 percent of the audience are first-time viewers, drawn in by the buzz surrounding this unique project.

Described as a blend of silent comedy, slapstick, and Tex Avery-style cartoons featuring beaver cosplay, the film has captured the imagination of fans like Jack Bereiter. Having been “blown away” during his first viewing, Bereiter found that subsequent screenings with friends only enhanced the experience.

Jessica Rosner, the independent film booker instrumental in the film’s theatrical run, expressed her amazement that “Beavers” is still playing in theaters more than two years after its debut. For fans like Bereiter, the theatrical experience is essential; while his father didn’t connect with the film at home, Bereiter remains convinced that the “giddy” energy of a shared theatrical screening is what makes this “tiny film about beavers” a true cult masterpiece.