{"id":291,"date":"2026-05-31T11:08:21","date_gmt":"2026-05-31T11:08:21","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=291"},"modified":"2026-05-31T11:08:21","modified_gmt":"2026-05-31T11:08:21","slug":"backrooms-obsession-and-hollywoods-zoomer-horror-renaissance","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=291","title":{"rendered":"\u201cBackrooms,\u201d \u201cObsession,\u201d and Hollywood\u2019s Zoomer-Horror Renaissance"},"content":{"rendered":"
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Alice tumbled down a rabbit hole; Lucy wandered through a wardrobe. For Clark (Chiwetel Ejiofor), the middle-aged man-child protagonist of the new thriller \u201cBackrooms,\u201d the portal to another dimension lies in a strip-mall furniture outlet in California\u2019s Santa Clara Valley. Clark owns the store, a depressingly pirate-themed affair called Cap\u2019n Clark\u2019s Ottoman Empire, and it\u2019s about as successful as his recently ended marriage. He needs an escape from this reality, and he finds it, one sleepless night, in the store\u2019s basement-level showroom. Slipping through a wall like a ghost, he enters a maze of the disquietingly mundane\u2014a wasteland of beige carpets, moldering yellow wallpaper, and buzzing fluorescent-light fixtures. Does Clark do the sensible thing, turn around, and flee this nine-to-five Narnia? He does not. A former architect, he wanders, fascinated, around corners and through crawl spaces, taking particular note of the furniture, much of which is drably interchangeable with his store\u2019s wares. In one cavernous room, chairs, barstools, halogen lamps, and storage units have been stacked atop one another, as if someone had been trying to erect a barricade\u2014but who, or what, is being kept at bay?<\/p>\n

Read more The Paperboy\u2019s Secret<\/a><\/p>\n

The twenty-year-old director Kane Parsons envisions the Backrooms as a way station of the inexplicably familiar, where our terror arises less from jump scares (though there are a few) than from a droning, dread-soaked ambience. Like the recent Japanese video-game adaptation \u201cExit 8,\u201d which transformed a subway station into a nightmarish, white-tiled infinity loop, \u201cBackrooms\u201d is an ingeniously contoured exercise in liminal horror. It is also\u2014despite, or perhaps owing to, some self-consciously analog touches\u2014a slick and sophisticated piece of cinematic refurbishment. The concept of the Backrooms originated in 2019, in a 4chan post featuring a low-grade photograph of a yellowing office space and a vivid text description of \u201capproximately six hundred million square miles of randomly segmented empty rooms to be trapped in.\u201d Thus was born a creepypasta\u2014a term that does not mean a plate of squid-ink farfalle but, rather, a freaky urban legend, built for online dissemination. In 2022, Parsons, then a teen-ager, made a short film, \u201cThe Backrooms (Found Footage),\u201d and uploaded it to his YouTube channel. It became a viral sensation, spawning a more than twenty-episode web series and eventually this movie, with Parsons in the director\u2019s chair.<\/p>\n

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The feature-length \u201cBackrooms,\u201d which was written by Will Soodik, is essentially a more ambitious, bigger-budget extension of the series. It\u2019s 1990, and the production design, by Danny Vermette, evokes the period with a marvellously ugly specificity: floppy disks and fax machines, chunky gray computers and TV sets, and lumpy floral-patterned sofas straight out of a Bob Barker-era \u201cThe Price Is Right\u201d display. It\u2019s a sad backdrop for a sad story: Clark, recently kicked out of his house, has taken to sleeping in his own showroom. His attitude is at once desperate, indignant, and entitled. Meeting with his shrink, Mary (Renate Reinsve), he opens up about his drinking problem, but also rages against his ex-wife, claiming that he was their sole provider for years. Parsons films the therapy session with a detachment that mimics Mary\u2019s calm and mocks Clark\u2019s anger; here, we can tell, is a man who demands respect, especially from women.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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After stumbling upon the Backrooms that first night, Clark returns to them again and again, like a man obsessed. He becomes bent on mapping them out and uncovering their secrets, and Ejiofor lends him a fanatic\u2019s wide-eyed conviction, as if this great mystery might give his life new meaning. In an underdeveloped twist, Clark persuades his skeptical assistant, Kat (Lukita Maxwell), and her more gullible boyfriend, Bobby (Finn Bennett), to enter the Backrooms with him, armed with Bobby\u2019s camcorder. It\u2019s here that \u201cBackrooms\u201d briefly becomes a found-footage movie, and one that notably takes place before found-footage movies were a thing. (When Bobby descends to a much darker, scarier lower level of the Backrooms, you\u2019re reminded of the shaky-cam suspense of \u201cThe Blair Witch Project,\u201d which, in 1990, is still almost a decade away.) It soon becomes clear that something large, hulking, and dangerous is stalking them through the maze\u2014and, eventually, it will bear down on Mary, who also gets sucked into the Backrooms and even supplants Clark as the story\u2019s protagonist.<\/p>\n

If a more readily watchable screen actor than Reinsve has emerged in recent years, they aren\u2019t coming to mind. In a drama, she can hold you rapt with a hushed line reading; here, she also gets your pulse racing, whether she\u2019s dodging an assailant or racing up a staircase suspended over a seemingly bottomless chasm. We cling to Mary even when the script saddles her with flashbacks to a formatively miserable childhood, or when we hear drearily revealing excerpts from a self-help book she\u2019s written: \u201cWe all have our loops, our habits, behaviors that keep us walking in circles.\u201d We scarcely need such subtextual nudging to grasp that the Backrooms are, like the circular maze of \u201cExit 8,\u201d a metaphor for a life of fearful, self-protective routine. They are also, it seems, a storehouse of the subconscious, filled with the demons and detritus of old memories, some of which\u2014a woman with many shard-like faces, an overgrown, sentient pirate statue\u2014appear distorted to the point of abstraction.<\/p>\n

The eerie conceptual power of the Backrooms hinges on these ideas and associations remaining just beneath the surface; it\u2019s the unyielding opacity of the environment that sustains its mystery. The film is at its best early on, as Clark wanders through a physical environment that, to his mind and ours, has no obvious origin and no clear reason to exist. Ironically, it\u2019s when the script begins to roll out the explanations that the entire edifice threatens to collapse. The deeper we plunge, and the more we get to know the phantasms of Clark\u2019s anguished psyche, the more \u201cBackrooms\u201d seems to shrink, conceptually, into a hard, unsatisfying nubbin of a movie\u2014less an exploration of a strange world than a tidy evisceration of male toxicity. The movie\u2019s closing scenes smack, dispiritingly, of franchise consolidation: a scientist type (Mark Duplass) who has been monitoring the proceedings from afar suddenly takes center frame, tying the events of the film into the web series\u2019 larger mythology. Parsons is an undeniable talent, with a potent gift for atmosphere, but a sharper resolution to \u201cBackrooms\u201d might have increased my excitement at the promise of more to come.<\/p>\n

Read more Looking Back at Lewis and Clark<\/a><\/p>\n

As of this writing, \u201cBackrooms,\u201d buoyed by strong word of mouth and a shrewd marketing campaign by its distributor, A24, is projected to earn an astonishing seventy million dollars in its opening weekend. Remarkably, it isn\u2019t the first time this month that a horror-themed big-screen d\u00e9but from an enviably young YouTuber has surpassed box-office expectations. Or crushed them, in the case of \u201cObsession,\u201d the shoestring-budgeted first feature from the twenty-six-year-old director and writer Curry Barker, who got his start directing horror and comedy shorts and posting them online. \u201cObsession,\u201d which was acquired by Focus Features after premi\u00e8ring at the Toronto International Film Festival, opened in theatres on May 15th, and has since grossed more than a hundred million dollars worldwide\u2014well over one hundred times its production costs. Might a generation raised on social media, a force often credited with hastening the death of theatrical moviegoing, instead prove to be its salvation?<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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In any event, the success of \u201cObsession\u201d is an independent filmmaker\u2019s dream-come-true scenario, which is amusing considering the movie\u2019s attitude toward wish fulfillment: it\u2019s \u201cThe Monkey\u2019s Paw\u201d by way of \u201cFatal Attraction.\u201d In lieu of a paw, the story turns on a novelty item called a One Wish Willow, which, when snapped in two, grants the snapper any one thing their heart desires. Bear (Michael Johnston), a nice, somewhat withdrawn music-store employee in his twenties, wishes that his beautiful friend, crush, and co-worker Nikki (Inde Navarrette) would love him \u201cmore than anyone in the fucking world.\u201d<\/p>\n

What\u2019s striking about Bear\u2019s wish\u2014which he makes, impulsively, after giving Nikki a ride home\u2014is what does and doesn\u2019t happen next. Nikki doesn\u2019t suddenly hurl herself at Bear and shower him with kisses. She walks over to him slowly, as if propelled by forces beyond her control, looking more confused than smitten. \u201cNikki, are you O.K.?\u201d Bear asks, uncertain whether his wish has come true. Before long, there\u2019s no doubt that it has\u2014and Bear, whatever his initial concern, and despite his superficial nice-guy pose, is all too happy to reap the benefits. He falls into Nikki\u2019s arms, at which point Barker unleashes a falling-in-love montage so aggressively cute, and yet also so deliberately perfunctory, that you can just about hear him cackling over the saccharine soundtrack.<\/p>\n

From the beginning, and with rigorous narrative concentration, \u201cObsession\u201d complicates and defamiliarizes an age-old fantasy premise. What if, rather than merely taking the granting of a wish for granted, as fairy tales have long primed us to do, we witnessed the phenomenon as a series of mounting emotional and psychological ruptures\u2014a supernaturally supreme violation? Nikki\u2019s every loving gesture toward Bear is, tellingly, accompanied by a hateful counter-reaction: the spectacular by-product of a losing battle with not only the unseen entity that has seized control of her but also with the man who made it happen. Nikki will not go quietly. In an early moment of intimacy, she recoils from Bear with a sudden scream of fear\u2014then just as quickly snaps out of it, pretending that everything is fine. A later public act of self-harm is, more than terrified onlookers realize, a brutal cry for help. Puncturing her captor\u2019s fantasies of romantic bliss with blood-curdling rictus grins and banshee howls, Navarrette dramatizes the loss of bodily and spiritual autonomy with as totalizing a sense of internal conflict as any actor since Betty Gabriel, in \u201cGet Out\u201d (2017).<\/p>\n

Here, as in \u201cBackrooms,\u201d the villain of the piece turns out to be a male protagonist, one whose unexamined selfishness turns out to have horrific consequences for others. (Crucial to the plot are two other co-workers, played by Cooper Tomlinson and Megan Lawless, which gives \u201cObsession\u201d a hilarious secondary moral: be careful how many horny twentysomethings you employ at your not terribly busy music store.) But not all social-media-savvy horror wunderkinds are created equal, and the differences between Parsons\u2019s and Barker\u2019s films are instructive. \u201cBackrooms,\u201d outwardly the more visually striking and self-consciously elevated of the two, gets tangled in its own ambitions, and ends on a disappointingly conventional note. \u201cObsession,\u201d by contrast, opens in the realm of the straightforward and ultimately reveals itself to be something far more thoughtful and subversive. The finale is blackly comic perfection\u2014a meticulously timed series of misunderstandings, complete with a rogue bottle of poison, that reminded me of nothing so much as \u201cRomeo and Juliet.\u201d As for the tragedy of Nikki\u2019s displacement from her own body, it raises the ghost of another Shakespearean end: exit, pursued by a Bear.\u00a0\u2666<\/p>\n

Read more Playground Purgatory<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Kane Parsons\u2019s d\u00e9but, starring Chiwetel Ejiofor and Renate Reinsve, doesn\u2019t quite cohere\u2014but Curry Barker\u2019s takes a familiar premise to a dark new place, Justin Chang writes.<\/p>\n","protected":false},"author":1,"featured_media":290,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-291","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-current-cinema"],"yoast_head":"\n\u201cBackrooms,\u201d \u201cObsession,\u201d and Hollywood\u2019s Zoomer-Horror Renaissance - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=291\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cBackrooms,\u201d \u201cObsession,\u201d and Hollywood\u2019s Zoomer-Horror Renaissance - 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