 In a global context , popularity can vary widely by territory , especially with regard to limited releases . Mad Max ( 1979 ) was an international hit – except in America where it became an obscure cult favorite , ignored by critics and available for years only in a dubbed version though it earned over $ 100M internationally . Foreign cinema can put a different spin on popular genres , such as Japanese horror , which was initially a cult favorite in America . Asian imports to the West are often marketed as exotic cult films and of interchangeable national identity , which academic Chi @-@ Yun Shin criticizes as reductive . Foreign influence can affect fan response , especially on genres tied to a national identity ; when they become more global in scope , questions of authenticity may arise . Filmmakers and films ignored in their own country can become the objects of cult adoration in another , producing perplexed reactions in their native country . Cult films can also establish an early viability for more mainstream films both for filmmakers and national cinema . The early cult horror films of Peter Jackson were so strongly associated with his homeland that they affected the international reputation of New Zealand and its cinema . As more artistic films emerged , New Zealand was perceived as a legitimate competitor to Hollywood , which mirrored Jackson 's career trajectory . Heavenly Creatures ( 1994 ) acquired its own cult following , became a part of New Zealand 's national identity , and paved the way for big @-@ budget , Hollywood @-@ style epics , such as Jackson 's Lord of the Rings trilogy . 
