Kahle, verschachtelte Büroflure, endlose beige-gelbe Wände, ein unaufhörliches, unerträglich lautes Surren von Leuchtstoffröhren: Die „Backrooms“ beschreiben eine neue Art von Albtraum, eine menschenleere Parallelwelt sich wiederholender, fensterloser Stockwerke, die unsere Realität auf den ersten Blick spiegelt und sich ihr doch mit jedem Schritt weiter entzieht. Verstörend verlassen wirken die labyrinthischen Räume, doch allein ist man dort nicht...
- p99qhvor 21 Std.I expected more from this film, but it is almost something much more niche, the plot is deep, it is not difficult to digest, but it is something a bit "strange" I think there were many loose ends coming to the end and giving a little flavor of "they could have done more.". A regular film, without terror as such, a somewhat slow script, with long waits but no answers, a somewhat lazy protagonist, with a slightly deeper protagonist but with a somewhat elaborate situation.
- Hipster ZOMBIE1. Juni 2026What began as an anonymous creepypasta on 4chan has now evolved into a full blown feature film with A24’s unsettling adaptation of The Backrooms. Directed by series creator Kane Parsons, the film expands his viral web mythology into a suffocating psychological horror experience that feels less like a traditional movie and more like a waking fever dream you can’t escape. For the uninitiated, The Backrooms is essentially that recurring nightmare where the hallway keeps stretching farther away no matter how fast you walk, blended with the sterile emptiness of abandoned office spaces humming under fluorescent lights. Random junk litters endless yellow corridors, reality folds in on itself, and there’s seemingly no exit. Chiwetel Ejiofor delivers a quietly devastating performance as Clark, a man already trapped in the soul-crushing monotony of his own life before stumbling through a multidimensional doorway into the ominous labyrinth known as the Backrooms. Saying much more would spoil the film’s carefully layered mysteries. Renate Reinsve is equally compelling as Mary, Clark’s therapist, whose own fractured emotional state may be more connected to the Backrooms than the film initially lets on. Rather than relying on cheap jump scares, Parsons leans heavily into atmosphere, existential dread, and the terror of isolation. The result is hypnotic, unnerving, and deeply ambiguous. Its open-ended finale is certain to spark endless debate, especially among longtime fans of the mythos. Some horror audiences may find its slow-burn psychological approach frustrating, particularly those expecting a more conventional scare fest. But for viewers willing to surrender to its strange rhythms and oppressive mood, The Backrooms is one of the most haunting and uniquely unsettling horror films A24 has released in a while.
- eyeofthetornadovor 1 Tag“We all have our loops. Our habits. Behaviors that keep us walking in circles. Reaching for the same solutions over and over again. Thinking each time will take you somewhere new, but they don't. And still, it's the neural pathway of least resistance. A path you made. It's the one that kept you safe when you were a child. You learned to push people away before they could hurt you. And now, as an adult, you're still stuck right where you started. Alone.” Backrooms begins with a chilling premise: a psychologist, carrying unresolved trauma of their own, slowly loses the ability to distinguish between treating a patient and wandering through the endless corridors of the patient’s subconscious. Every room becomes another repressed memory, another locked door, another piece of themselves they were never prepared to confront. What makes the film so effective is that the Backrooms are never just a supernatural maze they are the architecture of trauma itself. Therapy transforms into exploration, empathy into vulnerability, and every attempt to rescue another person draws the therapist deeper into their own forgotten wounds. The greatest horror is not getting lost in impossible spaces, but realizing that the guide is just as broken as the one seeking help. Rather than relying solely on scares, Backrooms succeeds by turning psychological boundaries and phobias into physical ones. It reminds us that empathy is a gift, but without healing oneself, it can also become a trap. Sometimes the darkest room in another person’s mind contains a door leading straight into our own.
- sopulavor 1 Taggreat movie, big bag of things to unpack, engaging introduction to a good couple characters, some good situational comedy, lots of weird and funny and creepy things to look at and just the right amount of plot to mystery ratio the ending left me with a noticeable chill, and the middle section with the hectic handheld "found footage" part was surprisingly scary the progressive structure worked really well to keep a movie mostly about empty office rooms from getting dull or boring. 2 thubs upp ! if anything it could have been less horrory, (like maybe it didnt even need the horror sound effects and music)
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Backrooms wurde am 27. Mai 2026 veröffentlicht.
Regie in Backrooms führte(n) Kane Parsons.
Backrooms hat eine Spielzeit von 1 Std., 50 Min..
Backrooms wurde produziert von Shawn Levy, Dan Cohen, Dan Levine, James Wan, Michael Clear, Roberto Patino, Kori Adelson, Chris Ferguson, Osgood Perkins, Jenno Topping, Peter Chernin.
Kahle, verschachtelte Büroflure, endlose beige-gelbe Wände, ein unaufhörliches, unerträglich lautes Surren von Leuchtstoffröhren: Die „Backrooms“ beschreiben eine neue Art von Albtraum, eine menschenleere Parallelwelt sich wiederholender, fensterloser Stockwerke, die unsere Realität auf den ersten Blick spiegelt und sich ihr doch mit jedem Schritt weiter entzieht. Verstörend verlassen wirken die labyrinthischen Räume, doch allein ist man dort nicht...
Die Hauptcharaktere in Backrooms sind Clark (Chiwetel Ejiofor), Mary (Renate Reinsve), Phil (Mark Duplass).
Backrooms ist bewertet mit 16.
Backrooms ist eine Horror, Mystery, Science Fiction Film.
Backrooms hat eine Benutzerbewertung von 7.4 von 10.
Backrooms hatte ein Budget von 10 Mio. $.
Backrooms erzielte Einnhamen von 367,9 Mio. $ an den Kinokassen.