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Now, one of the things that intrigued me going into this film was learning that the director is only twenty years old and originally made a name for himself as a visual effects artist. Pair that with A24, a studio that seems incapable of avoiding interesting projects, and I was curious to see what all the fuss was about.
I can safely say I discovered what the fuss was about. Whether I completely understood it is another matter entirely.
I'll be honest: a lot of this film went straight over my head. After watching a few reviews and ending explainers, I realised I'd picked up on some of the themes and ideas being presented, but the deeper CreepyPasta lore and mythology surrounding the Backrooms? Yeah, I was completely lost there.
Backrooms stars Chiwetel Ejiofor as Clark, an architect who now finds himself working in a furniture store. While investigating a lighting issue, he discovers a hidden doorway that leads to a seemingly endless maze of interconnected rooms. After discussing his discovery with his therapist, Mary, she decides to investigate the mysterious space herself, and from there things become increasingly strange, unsettling and difficult to explain.
One thing that immediately stood out to me was how little this film must have cost to make. This genuinely feels like it was made for the price of a bag of fish and chips, a portion of mushy peas and maybe a cup of gravy if the budget stretched that far.
The film mostly revolves around two central characters, with only a handful of supporting roles, and the majority of the story takes place within a single environment. Normally, when films work with those kinds of limitations, they need one of three things: a brilliant script, brilliant performances or brilliant ideas. Backrooms definitely have at least two of those.
The story itself is where things become a little complicated for me. On paper, there is absolutely a narrative. We meet Clark, we learn about his problems, we follow his journey, and eventually we reach a resolution. But this isn't a film interested in traditional storytelling.
It isn't concerned with explaining itself. It isn't interested in answering every question. And that reminded me of Cloverfield; I did not mind that.
Mary's storyline in particular felt underdeveloped to me, or at least they could have added a little more to really flesh out her character. I found myself wanting more from her character and more exploration of what she was going through. However, I also recognise that the film is deliberately designed to leave gaps and allow the audience to fill them in themselves.
The film seems far more interested in exploring ideas surrounding accountability, guilt, trauma and possibly forgiveness than it is in explaining what the Backrooms actually are. And honestly, the film never even attempts to provide those answers.
As a horror film, though, it absolutely succeeds. The cinematography is fantastic. There are moments that genuinely made me uncomfortable despite very little actually happening. Slow camera movements, endless corridors, dark corners, strange sounds and objects that appear slightly distorted or out of place all combine to create an atmosphere that feels consistently unsettling. The Backrooms themselves are often filled with furniture, objects and environments that look familiar at first glance but feel wrong the longer you look at them. That uncanny feeling becomes one of the film's greatest strengths.
The sound design deserves a lot of praise as well. There isn't a huge amount of music throughout the film, but what it lacks in score it more than makes up for with atmosphere. Every creak, hum, distant noise and echo is used to make you feel uneasy. Then there are the performances.
These kinds of films live or die based on the actors carrying the audience through long stretches of uncertainty, and thankfully, the cast is more than up to the task. Chiwetel Ejiofor is superb, as he usually is. He plays Clark with an intensity that constantly keeps you guessing. There were several moments where I wasn't entirely sure whether I trusted him, understood him or even fully believed what he was experiencing.
Alongside him, Renate Reinsve delivers a strong performance as Mary. She spends much of the film attempting to maintain control while clearly carrying unresolved trauma beneath the surface. Watching her navigate the increasingly bizarre situation reminded me at times of the characters in The Descent.
Ultimately, Backrooms is a film that has a lot to say, but it absolutely refuses to spoon-feed its audience. It doesn't explain the rules. It doesn't explain the mythology. It doesn't tell you how or why things exist. They simply do. I did not mind that, but perhaps I needed just that little bit more; another part of me found it fascinating.
Maybe a sequel will explore more of the lore. Maybe the director intends to build an anthology around the Backrooms mythology. Or maybe the mystery is entirely the point. What I do know is that this is one of those films that sticks with you after the credits roll, especially with what you see. I would definitely watch it again. And who knows? Maybe the second time around, I'll finally understand what on earth I just watched.
