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110 minutes ‧ R ‧ 2026
Cast: Chiwetel Ejiofor, Renate Reinsve, Mark Duplass
Director: Kane Parsons
Genres: Horror, Thriller

The summer’s must-watch film, Backrooms, pulls you in from the very beginning, dropping you into a world that’s both strange and familiar. It’s the kind of movie that makes you lean forward, trying to unravel its mysteries. But here’s the catch — Backrooms never gives you all the answers. By the time the credits roll, you’re left piecing together clues, still trying to make sense of everything you’ve just seen.

That doesn’t mean the movie is bad. In fact, it’s the opposite. Backrooms is intense, unsettling, and full of haunting, unforgettable imagery. It lingers with you long after you leave the theater. It’s one of those movies that has you searching for explanations online because it gives you just enough to keep you interested — and leaves plenty to your imagination.

Directed by Kane Parsons in his first feature film, Backrooms draws inspiration from the internet-famous horror concept of endless, empty, yellow-lit rooms — places that look almost normal, but something’s just off. Parsons knows that real fear isn’t always about loud noises or jump scares. Sometimes, it’s the uneasy feeling of being stuck somewhere that almost makes sense but doesn’t.

The story follows Clark, played by Chiwetel Ejiofor, a struggling furniture store owner whose life is falling apart. His business is failing, he’s going through a divorce, and nothing feels real anymore. Even his store is filled with fake rooms and artificial comfort. Then, Clark stumbles across a hidden door in the basement that leads to the Backrooms — a maze of buzzing lights, warped hallways, and spaces that look like reality, just wrong.

Renate Reinsve plays Mary, Clark’s therapist, who becomes the emotional anchor of the film. At first, she thinks Clark is just having a breakdown. But as things get stranger, Mary gets pulled in too, and the movie starts to tie the Backrooms to trauma, memory, and the secrets people bury. That’s where the film really hits home: the place is scary not just because it’s empty, but because it feels personal.

The ending doesn’t tie everything up with a neat bow, and that might not work for everyone. Without giving anything away, the movie leaves a lot unanswered. It doesn’t explain all the rules or spell out exactly what the Backrooms are. Instead, it suggests these spaces might be more than just another dimension — they could be a warped reflection of fear, grief, and memory. It’s frustrating, but that’s also what makes it work. The uncertainty is part of the horror.

Copyright ©️2026 by Frank Gaimari