Internet Horror Phenomenon "Backrooms" Hits Theaters

The "Backrooms" concept first emerged from a 2019 4chan thread, sparked by an eerie photograph that had been circulating online between 2011 and 2018. This image depicted an aged office space, notable for its worn yellow wallpaper, moist carpets, and bright, unsettling fluorescent lights. An anonymous 4chan user built upon this visual, describing a vast, inescapable labyrinth of identical hallways that individuals could inexplicably "no-clip" into—a term borrowed from video games referring to a glitch allowing passage through walls.

Kane Parsons, born in 2005 or 2006, played a pivotal role in popularizing this internet phenomenon. Operating under his online alias Kane Pixels, Parsons launched his viral YouTube web series, "The Backrooms (Found Footage)," on January 7, 2022. This initial short film quickly amassed around 78 million views by May 2026 and expanded into a 24-episode semi-anthological series. His work is widely credited with igniting a surge in "Backrooms" content and bringing the concept into the mainstream consciousness. Parsons, a self-taught visual effects artist who started his YouTube channel in 2015, utilized software like Blender and Adobe After Effects to create his popular web series.

The official announcement for the film adaptation came in February 2023, revealing a joint production effort involving A24, Chernin Entertainment, Atomic Monster, and 21 Laps Entertainment. At just 20 or 21 years old, Parsons became A24's youngest feature director, a significant milestone. Principal photography for "Backrooms" commenced in Vancouver, Canada, on July 7, 2025, under the working title "Effigy," and wrapped up on August 14, 2025. The production spared no effort in creating the film's distinctive environment, constructing over 30,000 square feet of "Backrooms" sets across four soundstages. Reports from the set indicate that both cast and crew frequently got lost, with crew members reportedly requiring daily printed maps for navigation within the elaborate maze.

The film's critical reception has largely been positive, with many reviewers praising Parsons' direction. Owen Gleiberman of Variety described the film as "extraordinarily effective" in its ability to create an atmospheric freakout. Amy Nicholson of the Los Angeles Times called it "a surrealist painting in motion," noting that classifying it as a conventional horror film "doesn't feel exactly right." Nikki Gemmell reportedly went as far as to hail it as "cinema's future," while other critics commended Parsons for assuredly harnessing the "creepy, mind-bending potential of this liminal concept."

However, not all reviews were without reservation. William Bibbiani of The Wrap reportedly found that the film's attempts at deeper meaning occasionally fell flat or lacked clear purpose. Despite this, industry figures have expressed strong support. James Wan, a prominent horror filmmaker and one of the film's producers, publicly indicated his intent to "pass the torch" to Parsons, acknowledging his talent. Actor Mark Duplass also praised Parsons' on-set demeanor, remarking, "This guy is so in charge... he was so patient and good with the actors."

"Backrooms" is a significant cultural marker, representing a prominent example of how internet-born horror, often referred to as "creepypasta," is successfully making the leap to mainstream cinema. This trend has been observed with other recent films like "Talk to Me" from the Philippou Brothers and "Iron Lung" by Mark Fischbach, cementing the internet as a fertile ground for new horror narratives. Parsons' achievement in directing a major studio film at such a young age, becoming A24's youngest director, underscores a growing recognition of online creators and their unique storytelling capabilities within Hollywood.

The film's R rating and 110-minute runtime further establish its serious horror credentials, aiming for a mature and immersive experience rather than a fleeting jump-scare fest. The production design by Danny Vermette and cinematography by Jeremy Cox specifically aimed to create an "ineffably oppressive, crepuscular kind of dead yellowish light," deeply embedding the film in the unsettling aesthetic of its internet origins. This focus on dread and atmosphere, rather than conventional scares, appears to be a key to its critical success and broader appeal.

With its wide release now underway, "Backrooms" stands as a compelling case study in the evolution of horror and the power of grassroots internet creativity. The film not only delivers on the promise of its viral source material but also signals a new era where digital artists can transition to major cinematic projects with critical and commercial success. Its performance in the coming weeks will undoubtedly be closely watched as Hollywood continues to scout the boundless wellspring of online culture for the next big story.