The kids have been clamoring for more limited space horror movies in the wake of Skinamarink. Which is why all eyes have been on Kane Parsons Backrooms. Based on his wildly popular and creepy short The Backrooms, the film quickly became one of the most anticipated movies of 2026. Even cinephiles who don’t typically enjoy these kinds of movies couldn’t help being a little curious. Would it live up to the hype? Would it be as divisive as Skinamarink and some other liminal titles that bridge the gap between the two? Obviously, the internet also flipped when they found out how young Parsons is, as if talent is triggered at a certain age. Luckily, for Parsons, A24, and audiences, Backrooms is a weird little ditty worth experiencing in a theater.
Picture It
Clark (Chiwetel Ejiofor) is seeing a therapist after hitting a rough patch. His marriage has ended, his furniture store doesn’t seem to be doing well, and he seems isolated and miserable in the most relatable ways. His therapist, Mary (Renate Reinsve), tries to help him work through some of these issues and some of his triggers, but he’s not ready for that. Clark eventually discovers that the basement of his furniture store has a wall that leads to other dimensions. This consumes Clark, and when he tells Mary, she doesn’t believe him. Mark decides to return to this new odd world and come back with proof. However, when he disappears, Mary follows in his footsteps seeking answers, only to find endless nightmares.
Co-writers Will Soodik and Parsons build an almost nesting doll of riddles that force you to lean forward. Every time you think you have it figured out, they pull the rug out from under you. The audience is much like Phil (Mark Duplass), the only character on screen who has an inkling of what’s going on but even he still craves answers. The supporting characters also include Kat (Lukita Maxwell) and Bobby (Finn Bennett) as a young couple who work at the furniture store. Clark enlists their help to document the unexplainable because Bobby has access to a camera. They provide some comic relief, help bring a little found footage energy, and are also there when things get out of hand. It’s a thing of beauty when Backrooms decides it’s time to stop toying with its audience and open the can of anxiety in earnest.
Should You Turn Back?
The performances, atmosphere, puzzles, and jaw-dropping moments are worth the trip. All of it adds enough razzle-dazzle to keep you invested until the real horrors begin. I’m one of the people who would love to ask some questions about some of the items found in this dimension and what their purpose is. I also had a pause when a certain monstrous presence appeared. However, the movie is effective and works for me in a way that the other liminal space girls don’t. It’s not going to be everyone’s cup of tea though. I personally wouldn’t be mad about seeing it again and trying to rearrange this aesthetically interesting Rubik’s Cube.
Director of photography, Jeremy Cox, captures the never-ending yellowish space. It’s ironic that production designer Danny Vermette and team chose such a cheery color for this depressing and stressful ride. It gives the the ever-expanding maze an almost Little Miss Sunshine but wrong and upside-down vibe. The color also helps the film feel like it’s outside of time, as it all looks kind of retro and familiar. This also supports Clark’s (Ejiofor gives yet another outstanding performance) feeling of being disconnected. It’s giving anti-depressant commercial and that feeling you get when loved ones tell you to “stop being sad”. Like most of us, he needed to do some self-reflection and to have one win. Also, like most of us in this decade, he got dealt another unprecedented hand and some wild turns.
Bottom Line
Backrooms is the kind of uniquely out-of-the-box film that put A24 on the map. It’s cool and trippy while also balancing scares and humor in a way that makes it fun even when causing a panic attack (or two). The unique little gem is a very solid first feature debut from Kane Parsons. If nothing else, the way he weaponizes silence and stillness is enough to force me to want to know more about the kind of shenanigans he’ll get up to in the future. This movie feels like you’re living inside someone’s intimate, depressive moment. The audience is the witness waiting to see if there is an imminent crash out or if they’ll ask for help first. Yet, what feels familiar at first blush is actually beyond our scope and refuses to make either chose so simple.
