Internet lore might be the next bastion of horror films. There are so many layers of horror shorts, Creepypasta stories, and associated games that make you experience the fear that feels so wildly unique compared to what Hollywood pumps out for the most part.
A24 has essentially taken the lead by adapting the horror concept of The Backrooms, a liminal space where nothing seems to exist outside of the neverending offices and hallways, but the uncanny essence of it all speaks to our nightmares. This studio smartly hired a 19 year old creator named Kane Parsons, who helped popularize the idea online through his shorts, to direct this experimental horror film.
In Backrooms, we follow two characters. Clark (Chiwetel Ejiofor) is a broken man who incidentally runs a failing furniture store. He struggles with his failings in life and marriage and seeks the help of a would-be successful therapist, Mary (Renate Reinsve). One night, Clark finds that his furniture store has a doorway which opens up to a world of empty office and seemingly endless hallway nightmares.
I don’t want to go into too much more detail on what happens in the Backrooms as it becomes less about the unwitting character’s descent into them, but more about just how futile and claustrophobic the Backrooms makes them (and you) feel.
I don’t know much about the videos or games that Backrooms adapts, but they always seemed so simple in concept and didn’t need main characters. Having two powerhouses in Ejiofor and Reinsve, elevates this material far beyond what could be an extended take on the famous horror meme. Their characters get limited backstories, and often minor glimpses into their past regrets and trauma, but these two actors are captivating. I could see some viewers seeing their talents wasted here, but they both just lean into the weirdness within this experience.
Outside of a few found-footage and perspective shots, I wouldn’t necessarily say I found Backrooms to be scary. Instead, it all felt perpetually disconcerting. I felt nervous because when there is such a focus on environmental horror, I couldn’t help but inject myself into the story and wonder what my next move would be.
Yes, everything I’ve said above means that this movie will absolutely divide audiences. It never holds your hand. The script refuses to provide exposition that could finally explain what internet lore theorists have wondered about for years. It adds to the mystery and wants you to ask even more questions and be fine without answers.
It does not play it safe. It wants to unnerve you, even in the moments where it seems safe enough to breathe a sigh of relief. This is all due to the actual Backrooms shown. This set was all built and it’s nightmare fuel. There are dead birds in a place with no windows or sky. There is distorted furniture half sunken into the ground. The droning sound of florescent lights permeates each scene and begs the audience to feel uncomfortable.
It feels trite to say that A24, as a studio, has a certain style and expectation about it. Often, the films are a little too high-brow. They also excel in style over substance or want you to theorize about said substance. Backrooms keeps it par for the course. It may end up being one of their highest-grossing movies, but may not draw in many who aren’t familiar with the concept, or that want a story that feels complete.
Backrooms is going to stick with me. It excels with its atmospheric horror and feels so unique in the genre. It’s not scary in the traditional sense, but placed me right in the center of uncanny valley in all of the anxious ways. There are far more questions lingering when the credits roll. I respect the mystery of it all, but fully understand it won’t be everyone’s cup of tea. B
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