The viral sensation that turned flickering fluorescent lights and stained yellow wallpaper into a generation’s greatest phobia has finally made its big-screen debut. Released on May 29, 2026, A24’s Backrooms marks a startlingly assured feature debut for 20-year-old director Kane Parsons. By trading digital renders for a massive 30,000-square-foot practical set, Parsons transforms a YouTube “creepypasta” into a tactile, high-stakes psychological trip that feels like a cross between Eraserhead and The Shining.
The narrative centers on Clark (Chiwetel Ejiofor), a 90s furniture store owner whose life is unraveling. While dealing with a failing marriage and a bizarre electrical glitch in his warehouse, Clark literally stumbles through a seam in reality. He finds himself trapped in the “Backrooms”: an infinite, buzzing labyrinth of non-Euclidean office spaces. Ejiofor delivers a powerhouse performance, grounding the abstract horror with a raw, emotional desperation that keeps the film from becoming a mere visual exercise.
Renate Reinsve stars as Mary, Clark’s therapist, who becomes entangled in the mystery as the boundary between the store and the void begins to dissolve. Reinsve provides a vital counterpoint to Ejiofor’s spiralling panic, though her character is arguably underserved as the film shifts focus toward the enigmatic Async corporation. Fans of the original series will recognise the corporate lore, now given a sinister face in a cameo-style role that adds a layer of conspiracy to the survival horror.
Visually, Parsons retains the grainy VHS aesthetic that made his early work famous. The cinematography leans heavily into the “vibe” and mood, prioritising disorientation and psychological dread over cheap jump scares. The hum of the lights becomes its own character: a constant, grating reminder of the isolation.
Critical consensus identifies the film’s strength in its world-building and atmosphere, though some note the third act takes a wildly absurd turn. This climax, influenced by the bizarre irony of Osgood Perkins, is intentionally baffling and bound to divide audiences. However, the sheer ambition of the set design and Ejiofor’s magnetic lead performance make this a must-watch for horror enthusiasts.
For those looking for a fresh take on the genre, Backrooms is an unsettling masterpiece of liminal terror. It successfully bridges the gap between internet lore and cinematic art, proving that Parsons is a director to watch. Stay tuned to our film reviews for more in-depth analysis or check out our latest podcast episodes for a roundtable discussion on the film’s mind-bending ending.
