Backrooms (2026)
Level 0 of the liminal basement.
Presentation:
Creepypasta YouTube cinema is here, and hopefully here to stay because Backrooms is a liminal analog horror designed for you to be thinking about it for a long time. I’ve classified this as a mystery because it basically pans out as such. Trepid exploration into this eerie liminal office space like Stalker makes for a surreal descent through this unknown maze. The pacing is not ideal and carried over to the exposition sections, but it does make the connection between the two clear. People will likely complain about the Backrooms for its ambiguity, but Kane Parsons leaves enough clues to what it all means if you’re paying attention. Parsons’s age seems to be a big discussion for this film as he is now one of the youngest directors, but he deserves more credit with his filmmaking experience on his The Backrooms series. The original IP is celebrated for its nostalgic design, which is the main highlight. It’s luckily mostly practical and as perfect as an adaptation could be. For long time fans of the games, the found footage sections are on point and seamlessly cut with the main scenes. Everything from the monsters, set designs, blue skies, and fluorescent lighting was perfect. The pristine image quality on the other hand was a choice, not fitting of the suburban 90s Americana decor. I don’t think the casting had chemistry and there is an intentional hole in writing, but if you allow yourself to sink into the backrooms, you won’t mind getting lost in the mood piece.
Analysis:
Although Parsons is young, he completely understands that the Backrooms is a liminal space representing the subconscious. Him and the writers make a wise choice to add trauma to the equation and make the rooms resemble aspects of real life. There are indisputable connections through the film including recycling furnitures, locations, props, and eventually people. The sequence where the therapist’s home slowly descends into deeper layers until we reach the backrooms hopefully makes it abundantly clear. Pirate Clark is Clark’s alternate persona manifested as a monster, devouring those around him and ultimately himself once they no longer share the same goal. His death can actually be symbolically interpreted as a violent liberation, as he no longer wishes to psychologically abuse people in his life anymore. The hazmat team represents the futile pursuit of science in explaining the mind, just wanting to understand a little bit more.
Conclusion:
I would have loved to see an expansion of the universe beyond the hazmat team, but this film is meant for audiences that aren’t familiar with the original. The Backrooms went viral for a reason - they tap into our subconscious, which is why this film should emotionally resonate. Just not narratively satisfy because that has never what the Backrooms has been about. Trust me, the question is better than the answer for this mystery. Despite all its faults, one cannot deny the visceral experience. This film is about feel rather than story just like Lost Highway or Mirror. Even for those that found it narratively pointless, I am sure scenes will linger on because the film does successfully imbed into memories with its visually charged imagery. I just wish I could watch this with multiple fresh sets of eyes.
Recommendations
Level 0 of the liminal basement.