Clark besitzt ein heruntergekommenes Möbelgeschäft. Eines Tages entdeckt er im Keller des Ladens eine unsichtbare Tür. Mit der Zeit steigert er sich immer mehr in seine Besessenheit rein und möchte unbedingt das Geheimnis des verborgenen Raumes lüften. Letztendlich vertraut er sich seiner Psychotherapeutin Dr. Mary Kline an und berichtet ihr von den Mysterien des unerklärlichen Raumes. Als diese ihm schließlich dorthin folgt, muss sie etwas Grauenhaftes entdecken.

"Holy hell I was impressed by this. Went in knowing very little lore but it has such a confident command of tone, so many layers of storytelling (you have to, right?) and it just looks and sounds… amazing? I love horror that’s a feeling more than anything. You could certainly poke holes in this, but I kind of think that to grip your attention so much and to really get under your skin, even if for a minute, is no mean feat these days. Kane Parsons you have got a new fan. Much to ponder!" Ella Kemp, Letterboxd (2026)

“The production design by Danny Vermette is amazing, combining genuine constructions and digital fabrication. With cinematographer Jeremy Cox, they create an ineffably oppressive, crepuscular kind of dead yellowish light, a light that leaks like radon gas from the strip lighting of a million malls, stores and office buildings. BACKROOMS progressively raises its game towards the big finish with jump scares, squirm scares and tiny shiver scares. There is real fascination in exploring this vast, invisible city state of fear.” Peter Bradshaw, The Guardian (2026)

"With its effective visual language and strongly directed performances, BACKROOMS is more promising than anything else, a sign of what could be built within this subgenre and what its creator could make in the future. ... So what are “Backrooms”? Originating on 4chan, it's the term for a space that one reaches that's basically adjacent to reality. They're often portrayed as empty office spaces with the oppressive hum of fluorescent lights adding to the creep factor. At first, they may just seem like mundane, empty hallways and rooms, but then they often take on an M.C. Escher quality, with impossible spaces, doors in the wrong places, and miles of unoccupied real estate. And what's worse than being alone in one of these spaces? Not being alone. ... Someone asked me recently why horror is so successful while other genres fail, and other than its typically low budget, my answer was that it taps into that shared communal experience we still need the theater to truly feel: The moment when a room full of people feels the hair stand up on the back of their neck at the same exact time can be pretty special. The best thing about this movie is how much it feels like Kane Parsons is going to create a bunch of those moments in the future." Brian Tallerico, RogerEbert.com (2026)