Hot on the heels of Mark Fischbach\u2019s Iron Lung<\/em> and Curry Barker\u2019s Obsession<\/em>, Kane Parsons\u2019 Backrooms<\/em> is another horror movie by a fledgling feature director whose shorts have built up a huge subscription base on YouTube. But this surreal offering is quite unlike any horror movie you\u2019ve seen. If references must be offered as fingerholds to cling to, it\u2019s something like The Blair Witch Project<\/em> spliced with Cube<\/em> blended with Synecdoche, New York<\/em>, mostly shot in liminal spaces lit in queasy mono-yellow.<\/p>\n <\/span><\/p>\n <\/p>\n Confused? You will be. Unless, of course, you\u2019re familiar with Parsons\u2019 web series that grew out of a 4chan creepypasta image of a large, oddly shaped room. From the thrumming disquietude of that image, Parsons built 20-plus instalments revolving around fictional research facility Async as it attempts to document a dimension outside of reality. Now, in the movie, Async scientists led by Mark Duplass haunt the periphery, but the main focus is civilian Clark (Chiwetel Ejiofor), who inexplicably passes through a wall in the basement of his drab furniture store, into the Backrooms. Shocked, scared, intrigued, he sets about exploring its strangely angled, segmented spaces connected by tapering passageways, jutting staircases and small, Alice-In-Wonderland-type doorways. What he discovers is a seemingly endless maze that makes the Overlook Hotel look like a roadside motel. (Twice Parsons directly nods to The Shining<\/em>, which shares Backrooms\u2019 corridors-as-neural-pathways metaphor.)<\/p>\n <\/span><\/p>\n Backrooms<\/em> is one of the most out there art-horror features since Eraserhead<\/em>.<\/p>\n<\/blockquote>\n<\/div>\n<\/div>\n <\/p>\n Occasionally the rooms possess items, like dirty laundry or a Christmas tree or furniture melted into the floor; always there is the insistent buzz of fluorescent lights and the drone of an ambient score that might be whale music in Satan\u2019s spa. \u201cNone of it makes any sense,\u201d he tells therapist Mary (Norwegian arthouse queen Renate Reinsve), whose own traumatic childhood lends her a mysterious link to this otherworld. Many viewers will likely nod in sympathy. But for all those who will doubtless be relieved that a nightmarish final scene and then a coda offer hints of explanation, others will wish that Parsons kept us entirely in the dark (or should that be in the scuzzy yellow?).<\/p>\n <\/span><\/p>\n Switching between the rigorous lensing of an objective camera and lurching, found-footage-style perspectives, Backrooms<\/em> is one of the most out there, surreal, art-horror features since David Lynch\u2019s Eraserhead<\/em>. The web series might boast 200 million views since debuting in 2022, but this movie is most certainly not for everyone. It favours opacity, half-glimpsed creatures and a steady sense of unease over crowd-pleasing jumps, and is sure to spark endless debate and interpretations among those who aren\u2019t bored silly by it.<\/p>\n <\/span><\/div>\n This slow-burn, unnerving headscratcher seems set to launch Kane Parsons as a feature-filmmaking talent with a long career ahead of him. A very long career \u2014 he\u2019s only 20.<\/p>\n","protected":false},"excerpt":{"rendered":" When furniture salesman Clark (Chiwetel Ejiofor) enters an extradimensional space, his therapist, Mary (Renate Reinsve), goes in search of him. Hot on the heels of Mark Fischbach\u2019s Iron Lung and Curry Barker\u2019s Obsession, Kane Parsons\u2019 Backrooms is another horror movie by a fledgling feature director whose shorts have built up a huge subscription base on […]<\/p>\n","protected":false},"author":1,"featured_media":9791,"comment_status":"open","ping_status":"closed","sticky":false,"template":"Default","format":"standard","meta":{"footnotes":""},"categories":[47],"tags":[],"class_list":["post-9790","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-47"],"_links":{"self":[{"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/posts\/9790","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/comments?post=9790"}],"version-history":[{"count":1,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/posts\/9790\/revisions"}],"predecessor-version":[{"id":9792,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/posts\/9790\/revisions\/9792"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/media\/9791"}],"wp:attachment":[{"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/media?parent=9790"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/categories?post=9790"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/tags?post=9790"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![](\"https:\/\/imdbnews.ir\/wp-content\/uploads\/2026\/05\/backrooms.jpg\")
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