Director: Kane Parsons
Starring: Chiwetel Ejiofor, Renate Reinsve, Mark Duplass, Finn Bennett, Lukita Maxwell
Certificate: 15
Run Time: 110 mins

Backrooms is a feature-length adaptation of 20-year-old director’s Kane Parsons YouTube web series inspired by the 2019 ‘Backrooms’ creepypasta – seemingly endless liminal spaces appearing as dull yellow office-like rooms. In what’s only his feature-length directorial debut, Parsons has enlisted quite the backing, with high-profile directors such as James Wan, Osgood Perkins and Shawn Levy receiving producer credits. He’s also assembled quite the cast with Chiwetel Ejiofor and Renate Reinsve in the lead roles – and it’s very rare that either of them play in anything that isn’t stellar. Ejiofor portrays Clark, a failed architect who owns a furniture store and Reinsve plays his therapist, Dr Mary Kline. Clark’s store is struggling, and he has to balance this with his alcoholism and crumbling marriage – he sleeps in one of the beds for sale at his own store.

One night, and after a sequence where an electrician discovers strange wiring on the store’s fuse box, Clark notices a glow from the store’s basement and wanders down to find an illuminated slit in the wall. Leaning into the wall, he falls through and enters the titular Backrooms. He quickly becomes obsessed by them, telling Kline who doesn’t believe him and then enlisting his assistant manager Kat (Lukita Maxwell) and her boyfriend Bobby (Finn Bennett) to help film the evidence.

Backrooms is an outstanding debut and cements Kane Parsons as a serious talent to watch – that he has directed such an accomplished horror film at such a young age is nothing short of inspirational. It’s an enthralling watch that’s directed with a real confidence, bolstered by a smart script by Will Soodik that doesn’t waste its words. The film feels very much indebted to the works of David Lynch in its surreal imagery and thought-provoking narrative, only it feels satisfyingly more accessible and wholly original.

Although it’s not frightening in the traditional sense, Parsons conjures multiple impressively accomplished scares in figures or creatures that are half-glimpsed and he maintains a constant tension – I felt uneasy throughout. Backrooms is also visually unforgettable – the liminal spaces are brilliantly realised (one expansive physical 30,000 sqft set), with moments of claustrophobia and wonder. That Parsons has also been able to deftly imagine a 1990s setting despite being born in 2005 is also a marvel – and there’s almost a fake quality to the world he creates. Having watched Backrooms twice now, the devil is in the detail with many of the film’s images and I’m confident there’ll be something to discover on subsequent rewatches – it doesn’t lose its shock value.

The sound is also superb – from the monotonous hum of the oppressive lighting that creates a sense of unease to the outstanding soundtrack, which Parsons collaborates with The Monkey composer Edo Van Breemen. There are so many memorable themes here, and the soundtrack is an excellent standalone listen too.

Complimenting the bold choices behind the screen are the stars in front of it. Chiwetel Ejiofor is reliably brilliant as Clark, with bags of range as the store owner overloaded with life baggage. It feels as though his discovery of the Backrooms is a life turning point, a chance to start new and Ejiofor is excellent at conveying Clark’s wonder. After her terrific turn in Sentimental Value, Renate Reinsve is more than Ejiofor’s match, as the therapist with her own baggage who takes a calm and methodical approach to things.

Backrooms is ultimately not just an ingenious directorial debut, but a psychological horror triumph from Kane Parsons. It’s absolutely stacked with details waiting to be uncovered on future rewatches, and it’s a real thrill ride of an experience. Some have questioned whether this will be a one-hit wonder for Parsons. Judging by the confidence of his direction and the ambitious ideas on show, I’m confident he’s only just getting started.