Backrooms (2026)

In Backrooms, we see a fascinating mapping of internet folklore to a psychological horror film, but another, more important mapping takes place in the film: that of the backrooms to human psychology.

The setting as presented in internet lore is almost perfectly rendered; the film somehow captures the atmosphere of the original stories, despite the change in medium. Complementary use of found footage elements helps to conceal what otherwise would have been visual weaknesses. The success in capturing the surreal nature of the space helps to translate it to the psychological map the film gives us.

Our setting affords us the opportunity to explore the mental self, with its descriptions matching those of the unconscious mind: "I've been in here every night since I found the place and I've still barely scratched the surface." Clark, played by Chiwetel Ejiofor, goes on a journey inward of madness and sees his psyche warp ever further as he proves incapable of change.

One interesting scene comes around our narrative climax, where the showdown is just as much about physical safety as it is about therapy, particularly failed therapy. The reviewer notes that Clark's demands of his therapist, Mary, played by Renate Reinsve, evoke discussions of what constitutes good bedside manner versus simply acquiescing to the patient, in this case due to coercion. Also, a clear and angry call is given by Mary for Clark to take accountability, with her declaring, "You attack me and tie me up? Blame your brain! You are your fucking brain you dipshit!"

However, there were significant missed opportunities to develop the conversation further in the film. The film presents us with Kat and Bobby, played by Lukita Maxwell and Finn Bennett, both displaying opposing, but equally compelling, attitudes toward the backrooms. Kat is appropriately fearful and has to be convinced into taking the risk of entering. Bobby, on the other hand, mostly just finds it cool. They are used to little effect rather than being used as additional avenues for psychological discovery. Similarly, the character of Phil was underutilized, as his presence could have provided the audience with key information that would map to the backrooms as psychology. The missed opportunity for a stronger group dynamic is unfortunate.

Certain sections drag, halting not just the story and action, but the psychological conversation. They are generally necessary in order to create tension and intrigue, but feel as though they take us away from the film's stronger material.

As a mapping of internet folklore to film, the movie works rather well. As a mapping of the backrooms to psychology, the film is more ambitious than it is successful. Still capable of generating interesting observations and a few scares, Backrooms is a worthwhile watch for horror fans and those familiar with the original story.