Get lost in the captivating world of “Backrooms,” an online legend that has taken the film industry by storm. Directed by Kane Parsons, this movie draws inspiration from the realm of “creepypasta,” an internet-driven genre focusing on horror stories and urban legends.
The term “creepypasta” originates from “copypasta,” which refers to text that spreads virally online through repeated copying and pasting. This genre includes various forms of horror content, from YouTube videos to short stories. The genre has inspired several films, including Sylvain White’s “Slender Man” and Jane Schoenbrun’s “We’re All Going to the World’s Fair.” “Backrooms” stands out as the latest and most successful entry, presenting a unique challenge for reviewers, but one that is welcomed.
The myth of the backrooms began on 4chan in the early 2010s, where users shared stories about a surreal liminal space filled with endless, dimly lit rooms adorned with yellow walls and carpets. A few years ago, then-teenage creator Kane Parsons, known online as Kane Pixels, began posting videos that depicted a man getting lost in these backrooms, encountering terrifying creatures along the way. Now 21, Parsons has transitioned his vision to the big screen, showcasing his remarkable talent.
Set in 1990, the film features Chiwetel Ejiofor as Clark, a discontented furniture store owner in San Jose whose life has become a personal hell following his divorce. Clark stumbles upon a hidden wall in his store that leads to the eerie backrooms. He introduces his employees, portrayed by Finn Roberts and Lukita Maxwell, to this unsettling discovery, but they soon find themselves facing a grim fate at the hands of an unseen menace.
The film’s production design, crafted by Danny Vermette, is extraordinary. Vermette, known for his work on various Osgood Perkins films, creates a haunting atmosphere featuring furniture that appears to sink into the ground and doors positioned at bizarre heights. The interiors evoke a sense of lingering human presence, reminiscent of the surreal artwork of Giorgio de Chirico. Comparisons to Stanley Kubrick’s “The Shining” are tempting, but the film bears a closer resemblance to Christopher Nolan’s explorations of warped spaces in “Inception” and “Interstellar.”
Much of “Backrooms” is filmed using vintage 1980s video cameras, echoing the grainy aesthetic of Parsons’ original videos. The film cleverly plays with the found-footage horror genre, particularly when Clark sets down his camera to assist one of his employees, only for an entity to pick it up and approach him.
Beyond its innovative style, the backrooms serve as a manifestation of Clark’s troubled psyche. A frustrated architect, he is capable of mapping out the rooms in detail. The monster haunting him is not only terrifying in its appearance but also symbolizes the madness that ultimately consumes him, as his therapist (Renate Reinsve) confronts her own past traumas within this space.
This past weekend, “Backrooms” and “Obsession” dominated the box office, igniting discussions among film enthusiasts about how these young directors—both YouTube creators—managed to eclipse big-budget films like “The Devil Wears Prada 2” and “Star Wars: The Mandalorian and Grogu.” While their success is intriguing, it may be more coincidental than indicative of a broader trend, as “Obsession” is a more conventional and, arguably, scarier horror film. Their joint triumph could encourage Hollywood to seek out more millennial YouTube talent, although past attempts have yielded mixed results, as seen with Markiplier’s “Iron Lung.”
Regardless of its impact on the future of cinema, “Backrooms” stands out for its originality. Crafting a fresh horror experience that diverges from the familiar tropes is no small feat, and audiences are flocking to this yellow-hued descent into madness. It’s heartening to see a film that sparks meaningful conversation among viewers.
Backrooms
Starring Chiwetel Ejiofor and Renate Reinsve. Directed by Kane Parsons. Written by Will Soodik, based on Parsons’ video series. Rated R.
