Clark natrafia w podziemiach swojego sklepu na przejście do niepokojącej, na pierwszy rzut oka pustej plątaniny niekończących się korytarzy. Kiedy opowiada o tym swojej terapeutce, kobieta uznaje, że mogą to być omamy zapowiadające pogorszenie jego stanu psychicznego. Sytuacja zmienia się, gdy Clark przestaje przychodzić na wizyty — zaniepokojona terapeutka postanawia odkryć, co się z nim stało. W trakcie poszukiwań trafia do rzeczywistości, gdzie czas traci sens, przestrzeń ulega dziwnym przemianom, a poza granicą widzialności kryje się coś nienaturalnego.
Where to Watch Backrooms. Bez wyjścia
- Hipster ZOMBIE1 czerwca 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.
- Corey Burkes10 g. temuWhat started off interesting dissolves into like a “found footage” POV like thing I thought we left back in the late 90s, then back to narrative filmmaking. Then it tries to get psychologically relevant to our traumas. I see what it tried to do but I simple wasn’t interested. This is top tier niche storytelling and only for a specific set. I’ve said this before many times for people coming out with their first films that supposedly are “genius”. …. “Let’s see your second story.” It’s that one that tells if the filmmaker has actual talent or it’s a one-hit-one-off. Chiwetel is, as always, a master class in acting as well as Renate Reinsve. But you feel like they were wasted. Like two big engines forced to hold back.
- rg940020 g. temuBackrooms was a pretty mixed bag for me. I could kind of tell from the trailers that I was not going to like this movie as much simply because it reminded me a lot of stories like Skinamarink, House of Leaves, and Piranesi, all movies/books that didn't work for me to varying degrees. For some reason, a lot of these stories about liminal spaces tend to be more atmospheric than substantive. Backrooms is no different, but it really suffers from pacing issues, especially in its first 60 minutes. A more experienced director could have easily condensed that into 20 minutes without losing anything. I do think some of the found footage moments are tense and genuinely creepy though, but there are like only 2-3 of them throughout the film. The idea of people having to run around these strange rooms to escape some ominous footsteps does work, and there is some effective technical filmmaking going on, but also, if you've ever played a first person horror video game, it is largely the same type of experience. The problem is that most of the movie outside of these chase sequences is just characters exploring surreal office rooms. I don't find that scary or tense or interesting, it is like watching paint dry. Sure, the set design is technically impressive, but again, that doesn't make a movie. All of this could have been excused had there been an interesting plot, story, character work, or themes. There isn't. There barely is a semblance of plot, and honestly, I would say it has no plot. Maybe if the ending of the movie was just the ending to Act 1, sure. But instead, it's mostly just people exploring this surreal space. The movie vaguely gestures at some themes and character motivations, but I really want to emphasize the word "vaguely" there. It's these nonverbal flashbacks that barely explain anything about Mary that particularly annoyed me. It wasn't the director trusting the audience; it was the director hoping the audience could write the story for him. Clark is slightly more fleshed out, but it really is very surface level. Again, most of the movie is stripped away from any plot, storytelling, character dynamics, character depth, character arcs...anything beyond just people exploring these strange rooms. If that sounds up your alley, great. It put me to sleep outside of like 3 sequences. Granted, it is impressive that a 19 year old director was able to make something like this, and there are some genuinely strong technical aspects of the movie. I'm glad that the movie has had such a buzzy opening as well. However, I think most people would appreciate Obsession which is also directed by an absurdly young director and has had a real success story simply because it is way better with its storytelling.
- George20 czerwca 2026It was pretty good. Some very creepy stuff and concepts. Some game & lore Easter eggs, overall solid but It's got some issues. It did its job well enough to where I want more for sure. For 20 year olds directing debut, this was shot and filmed so well. They made sure that 10 million budget was put to good use. Looking forward to more from young Kane Parsons! My issues 1. Wish it had more found footage sequences or even the whole movie. The best parts were those we did have. 2. The monster was... an interesting decision... meh. 3. Felt like I was missing an Act between acts 2 & 3. Needed some more in between those & I think you'll agree once you watch it. 3. They gave us way too many answers. (Kind of)
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Backrooms. Bez wyjścia was released on 27 maja 2026.
Backrooms. Bez wyjścia was directed by Kane Parsons.
Backrooms. Bez wyjścia has a runtime of 1 h 50 min.
Backrooms. Bez wyjścia was produced by Shawn Levy, Dan Cohen, Dan Levine, James Wan, Michael Clear, Roberto Patino, Kori Adelson, Chris Ferguson, Osgood Perkins, Jenno Topping, Peter Chernin.
Clark natrafia w podziemiach swojego sklepu na przejście do niepokojącej, na pierwszy rzut oka pustej plątaniny niekończących się korytarzy. Kiedy opowiada o tym swojej terapeutce, kobieta uznaje, że mogą to być omamy zapowiadające pogorszenie jego stanu psychicznego. Sytuacja zmienia się, gdy Clark przestaje przychodzić na wizyty — zaniepokojona terapeutka postanawia odkryć, co się z nim stało. W trakcie poszukiwań trafia do rzeczywistości, gdzie czas traci sens, przestrzeń ulega dziwnym przemianom, a poza granicą widzialności kryje się coś nienaturalnego.
The key characters in Backrooms. Bez wyjścia are Clark (Chiwetel Ejiofor), Mary (Renate Reinsve), Phil (Mark Duplass).
Backrooms. Bez wyjścia is rated R.
Backrooms. Bez wyjścia is a Horror, Sci-Fi, Tajemnica film.
Backrooms. Bez wyjścia has an audience rating of 7.4 out of 10.
Backrooms. Bez wyjścia had a budget of 10 mln USD.
Backrooms. Bez wyjścia has made 349,8 mln USD at the box office.