It’s hard to describe Backrooms. But maybe it describes itself.
Repeated often throughout the film is a simple (and common) idiom. “Try describing a dog to someone who’s never seen one. Then, ask them to draw it.” Meant to draw the characters into a sense of understanding the unknowable, the line could also easily be applied to the film itself. Just like the twisty setting itself, Backrooms is a genre-bending horror that defies (no, refuses) to explain itself… and it’s proud of the decision.
Based on the popular online game, Backrooms tells the story of Clark (Chiwetel Ejiofor), a furniture salesman who’s grappling with his own faded life. Spending his nights sleeping in the store he despises, Clark is slowly drowning in alcohol and mounting bill payments. However, things take a surprising turn when he discovers a strange doorway hidden in the walls of his showroom basement. Stumbling into a world that makes little sense, Clark seems to find a new sense of purpose in his exploration of the unknown. Yet, every secret he uncovers seems to lead him into a world that may not be as welcoming as he first envisioned.
Directed by Kane Parsons, there’s little doubt that the first-time filmmaker has tremendous love for the franchise that he’s bringing to the big screen. Now, at the ripe old age of 20 (!), Parsons has been given the keys to A24’s latest potential hit and, maybe, the next big franchise in onscreen horror.
Known for his YouTube videos of the Backrooms world, Parsons has created an intricately detailed expression of love (and chaos) for the IP that made him a star. Every room feels as though it has been crafted with the smallest minutiae in mind, giving it a cinematic quality. Though the wallpaper in every room is yellow-patterned, each room feels as though it has a story of its own to tell. From half-sunken chairs and desks to stop signs and tiny doors, this maze of madness feels like an alternate revisioning of Alice in Wonderland.
Every corner feels like it’s holding secrets and every hallway feels ominous.
Actually, it’s astounding the level of tension that Parsons is able to maintain, given that each area is brightly lit with warm colour palettes. Parsons doesn’t rely (much) on shadows to make his world scary. Instead, he tends to upend the natural serenity of the ‘suburban wasteland’. In the backrooms, everything is meant to feel safe but also… not. (There’s that dog reference again.) The rules of reality don’t seem to apply in the same way here that they do on the outside, creating a world of fractured madness for the characters (and the viewer).
It’s also worth noting as well that Parsons does an excellent job immersing the viewer into the world below. By way of handicam footage and slow-moving cameras, he draws the viewer into the chaos of the realm and never allows them to get too comfortable. What’s more credit must be given to some enthusiastic performances by Ejiofor and Renate Reinsve who feel fully invested in the onscreen anarchy.
But frankly, the most compelling storyline amidst these Backrooms isn’t the mystery itself. Following the psychological burdens of Ejiofor’s Clark, Parsons embeds his film with a conversation about mental health that often surprises.
After dealing with the wreckage of his broken relationship, Clark is a man who’s left searching for answers. Sitting in counselling sessions that barely offer solace, he simply can’t make sense of his own situation. However, his discovery of the backrooms finally energizes him and becomes a metaphor for his own inability to break through his own personal issues. (But, make no mistake. His journey of self-discovery will also take him into some unexpected places, especially as he advances more deeply into his psyche.)
Having said this, it is worth noting that Backrooms’ obscure reasoning will inevitably lead to mixed feelings from those who are new to the world when the credits role. Without giving any spoilers, the film intentionally leaves its questions open-ended, likely due to a desire to continue the franchise. As a result, watching Backrooms feels akin to binging the first season of Lost… and stopping immediately after the season finale. It’s compelling, cryptic and fueled with mystery. But don’t entirely be surprised if you’re left with more questions than answers.
Admittedly, knowing that the film thrives in its ambiguity may turn off some viewers if they choose to enter the winding, yellow halls. However, that is not meant to criticize the film itself. This psychological horror stays focused within itself, executing its most terrifying moments with surprising effectiveness. Even if we don’t always know where it’s going, Backrooms certainly seems to know where it’s going to end. And it’s a trip that many are going to want to take.
Backrooms is available in theatres on Friday, May 29th, 2026.
