A24’s Liminal Nightmare: Kane Parsons’ BACKROOMS Debut

Liminal spaces have long been a horrorscape explored on the internet, but the most captivating one has been the concept of the “backrooms”. And it’s finally transitioning from niche YouTube channels to the big screen with A24’s Backrooms. The directorial debut of Kane Parsons, written by Will Soodik, the film is easily the most anticipated horror release of the year. While it’s deeply unsettling and constant nightmare fuel, it might become one of the more polarizing films of the year.

In it, we meet a man named Clark (Chiwetel Ejiofor) who is on a bit of a downward spiral. He owns a furniture store that is not doing too well. He has had a failed marriage and a failed career, so he’s been going to a therapist named Mary (Renate Reinsve) to get to the root cause of his issues.

One day in the basement of his store, he discovers a doorway into what appears to be another world filled with endless rooms. Curious, he begins exploring. But when he leaves Mary concerned for his well-being, she finds herself venturing into this strange dimension in search of her patient.

Backrooms isn’t the first film to do analog horror, but it’s certainly the most grand. The production design is truly mind-boggling and beyond impressive. There’s this endless labyrinth of rooms that feels so dreadful. It’s so empty and haunting, with the constant buzz of the fluorescent lighting. And around every corner, there’s something new and unnerving waiting for you.

The found footage aspect also adds grit and texture to a lot of its scenes. While not the entirety of the film, what we do see through the POV of an old-school camcorder adds a lot of tension and unease to the story. Much like the original concept video Parsons created, it provides that uncanny, ambient, lo-fi horror feeling. And even if you’re someone who hates the idea of found footage, it simply can’t be done without.

As mentioned before, the story is mostly driven by Ejiofor, though Reinsve is a major part of the film as well. Both performances are fantastic, and each captures a separate sadness for Clark and Mary. They are both quite isolated individuals, dealing with their own traumas in differing ways. Although I will admit I’m very much on the fence about Clark’s journey.

To elaborate on would be spoilers, but there’s a shift in his character that I just didn’t quite find right for him. And in the end, left me wanting more from his dynamic with Mary. This does lead to my slight issue with the overall narrative. Which is, it doesn’t really explain much. At least not on an easily digestible platter.

There is this really interesting piece that is more tied back to Mary, but this idea of being boxed in, needing to escape. And how that ties back to these rooms and being stuck in this endless cycle of dread and emptiness. I think it’s that idea that the film doesn’t quite explore enough. And between the two main characters, I would have loved to see more resolution.

That also speaks more broadly to the film, sort of leaving its themes to your own interpretation, especially in its final seconds. For some, that could be extremely frustrating, as you really do have to read into these details. But on one hand, you could go into this film just for the aesthetics of it, just to live in the backrooms for an hour and 45 minutes. Or you could engage with the film in a deeper way if you’d like, but the film is not doing it for you.

Backrooms did really surprise me, though, with its style, direction, and themes. Parsons makes a huge impact with his directorial debut, absolutely delivering in so many ways. The haunting visuals that dip into a nostalgic sense. It genuinely creeped me out. And I’m still left marinating on its story and what I think certain aspects mean.

But there’s something still there that I’m eager to know more about. So if you’re like me and not fully up to date on the lore built up prior to the film, you could be disappointed. Or you could take it as your opportunity to dive into the backrooms on your own. Just don’t get lost…

Backrooms is in theatres May 29