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A film can be both a major studio release and a cult film, particularly if despite its affiliation with a major studio, it failed to achieve broad success on either the theatrical or home video markets but was championed by a small number of dedicated film fanatics who seek out lesser-known offerings.

It is also true that the content of certain films ( such as dark subjects, alienation, transgressive content, or other controversial subject matter ) can also decide whether or not a film is a " cult film ", regardless of the film's budget or studio affiliations.

An example may be Paul Verhoeven's big budgeted, highly sexualized Showgirls ( 1995 ), initially intended to be a drama film about the rise of a Las Vegas stripper, that flopped both critically and commercially when released theatrically ; afterward, it enjoyed success on the home video market, generating more than $ 100 million from video rentals.

Today, it is a favorite of gay audiences and audiences in general have considered it to be a comedy thanks to frequent midnight movie showings.

According to activist writer Naomi Klein, ironic enjoyment of the film initially arose among those with the video before MGM, the film's chief marketer, capitalized on the idea.

MGM noticed the video was performing well since " trendy twenty-somethings were throwing Showgirls irony parties, laughing sardonically at the implausibly poor screenplay and shrieking with horror at the aerobic sexual encounters.