Obsession is currently the talk of the town in terms of newly released movies. Not only is it performing extremely well with critics and audiences, but it’s also breaking numerous box office records, including the record for the youngest director ever to lead the box office. It’s extremely rare to see someone in the early stages of filmmaking blow up in popularity as much as director Curry Barker did, especially someone who got their start on social media. That being said, this exact same thing is looking to happen again this weekend with 20-year-old Kane Parsons directorial debut, Backrooms, a tense and atmospheric horror film that’s bound to become the next big success.

Parsons’ directorial debut is based on the 2022 short film he made, which is directly inspired by the creepy pasta stories of the same name. The film follows Clark, played by Chiwetel Ejiofor, as a down-on-his-luck furniture owner who discovers a hidden doorway to a dimension of never-ending rooms, also known as the Backrooms. Attempting to prove the existence of the Backrooms, he convinces his younger coworkers and his therapist, Mary (Renate Reinsve), to enter the dimension. What begins as an exploratory journey in the rooms soon turns sinister when they discover that they are not alone.

Kane Parsons created an entire YouTube series about the Backrooms, delving into its origins, lore, and the individual stories of those who entered it, almost entirely using computer software such as Blender and Adobe After Effects. With the series garnering over 100 million views on his YouTube channel, what made so many people invested in his work was the claustrophobic, yet never-ending environment. The blank, yellow walls and unpredictable structure of the rooms gave the viewer a strong sense of dread, all of which is beautifully conveyed in the feature film. Parsons successfully finds claustrophobia in the empty rooms, with the wide-angle cinematography beautifully capturing abnormality and dread, with the viewer unable to predict what is around every corner.

Unlike his series, Parsons used practical sets to capture the Backrooms, building over 30,000 square feet of empty yellow rooms. With the movie having a more digital look, the practical sets made for a much more immersive experience, as there was never a moment when an image on the screen looked fake. The sets also worked hand in hand with the story, serving as physical embodiments of the characters’ mental states. The set itself was already enveloping enough, but the way it ties into the story added a newfound layer to the film.

Most of the film relies on atmospheric tension to build horror, but there are also moments of physical scares that’ll make your skin crawl. Whether it’s mysterious beings lingering in the background or the sound of monsters storming toward the characters, the film avoids modern jump scares to create a wholly unique horror experience. A long-take sequence involving a camcorder in the second act particularly stands out, using all the senses to create tension that lingers with the viewer long after the credits roll. Backrooms may not be attempting to scare the audience like a Conjuring film would, but its inventive take on horror makes for a far more memorable experience.

A movie like this could’ve easily played out like a first-person video game, lacking in character development and solely focusing on scaring the viewer. While some of the strongest scenes involve high tension, arguably the richest aspect of the film is its screenplay. The film takes its time to build the story, making the scare scenes all the more effective. Clark, played excellently by Ejiofor, is much more than a character in the wrong place at the wrong time. Drowning in his past and unable to forgive himself for his wrongdoings, he is taken on a journey to find solace throughout the film. Mary, also dealing with her own set of trauma, is one of the only people in Clark’s life trying to help him, and witnessing their journeys was a surprisingly blissful experience. Through a beautiful ending montage in the film’s final moments, the film effectively conveyed the importance of mental health and of learning to let go. For a film based on a creepypasta, it’s surprisingly effective at eliciting empathy.

Clark goes through a series of emotional progressions throughout the film, and while most of them were handled successfully, one of the major shifts in his character could’ve been portrayed better. The film opts for a minor time jump before the third act, and as a result, the audience never sees one of Clark’s major character moments. If the film had delved further into Clark’s progression toward the climax, it would have made for a more satisfying experience.

As far as debuts go, there’s no reason for a 20-year-old to have such confidence and competence behind the camera, but Kane Parsons proves otherwise in what will likely be one of the biggest horror movies of the year. With some of the strongest production and sound design of the year, Backrooms showcases a new filmmaking talent while pushing forward the next generation of filmmakers. The slow pace may throw off normal moviegoers, but it delivers more than enough substance to warrant a theatrical release.

Backrooms is now playing in theaters nationwide.

Rating: 8/10

Oscar Prospects:

None.