In 2019, an anonymous user on 4chan posted an image of a liminal space and introduced the world to the internet creepypasta now known as ‘The Backrooms’. The photo was first posted on 4chan in 2011 and was originally taken by Bill Magritz in 2002, but has since taken on a life of its own as a pillar in the lore of the Backrooms. The original post details the lore of the Backrooms as follows:
“If you’re not careful and you noclip out of reality in the wrong areas, you’ll end up in the Backrooms, where it’s nothing but the stink of old, moist carpet, the madness of mono-yellow, the endless background noise of fluorescent lights at maximum hum-buzz, and approximately six hundred million square miles of randomly segmented empty rooms to be trapped in. God save you if you hear something wandering around nearby, because it sure as hell has heard you.”
In 2022, the Backrooms gained popularity with the release of “The Backrooms (Found Footage)” on YouTube by the channel Kane Pixels. The series was created by Kane Parsons, who was then only 16, and was made entirely using Blender and Adobe After Effects. The story blends elements of creepypasta lore with the found footage genre of horror. Parsons, who directed and co-wrote the film, has stated that he is determined to stick to his own interpretation and ideas of the lore for his series and film.
Found Footage Frights and a Flat Ending
“Backrooms” follows Clark, played by Chiwetel Ejiofor, who is the owner of a failing furniture store. After witnessing strange occurrences, Clark discovers the eerie liminal space of the Backrooms, where unsettlingly horrific events begin to unfold. The film also follows therapist Mary, played by Renate Reinsve. Mary is depicted as having experienced trauma during childhood, which is shown in glimpses throughout the film.
The film explores lingering in the past on two fronts. Clark struggles to let go of his resentment toward both his ex-wife and not getting where he wanted to in life. However, Clark does not see that this is his fatal flaw, as he repeats “It’s just the way we’re wired”, with no hope of change. Mary, however, is dealing with childhood trauma, which she can’t seem to escape from. The difference is that she has tried to move on and not dwell on that resentment, which causes some interesting friction between the two characters.
The film is at its best when Parsons uses his expertise in the found footage genre. Though this technique is only utilized twice in the entire film, it is where the film shines. During these segments, the horror and suspense are severely amped up compared to the rest of the film. The film, in general, holds an eerie and unsettling tone that can be attributed to the cinematography and the liminal setting in which the characters find themselves.
While Parsons’ film is at its best when it plays to his skills, it is also at its weakest when it does so. Coming from a background of offering an episodic-like series online, where atmosphere and unsolved mysteries bring viewers back, Parsons brings some of these principles to the film. However, this does leave some of the film feeling disatisfying or incomplete, the most common complaint online. Parsons has stated that he would love to make more Backrooms movies, which is likely due to the film grossing more than ten times its budget during its opening weekend.
Impressive Feats
“Backrooms” is an impressive feat by Kane Parsons, now the highest-grossing A24 film. Rumors online suggest that the next creepypasta to join the lineup of film adaptations, which includes “Slenderman” and “Backrooms”, may be Smile Dog. While having a few noticeable flaws, the film is proof that young directors are now overtaking the horror scene in Hollywood.
