Photo courtesy of Lockworks Cinema
Kane Parsons makes history being the youngest ever director to top the box office but is his execution as good as his concepts?
- Director – Kane Parsons
- Runtime – 110 minutes
- Certificate – 15
- Country – United States
He introduces some intriguing concepts to his already existing lore surrounding the Backrooms which make it more than just a film about the Backrooms, but unfortunately is let down by the script. It is still a film about the Backrooms but deep down it’s a film about trauma and the psychology surrounding moving on from trauma that shapes the Backrooms.
One the most captivating aspects of the actual Backrooms is the fear of the unknown and the film is at its peak when it embraces that. The found footage moments are a gold mine and are Parsons’ Youtube shorts dialled up to 11.
The fear and horror they capture in these scenes is true. It evokes this feeling from you that it otherwise wouldn’t if not for the found footage technique.
When it’s not in the found footage the Backrooms is still extremely palpable. The production design is immense. If A24 campaigned right it could easily get an Oscar nomination (probably won’t with The Odyssey or Dune competing). Building more than 30 thousand square feet of sets is and having people get lost on set is a testament to how great it is. It suffocates you and makes you feel as if there is no escape. The first couple of times that Clark goes in there are so daunting and uncertain that don’t just capture the essence of the Backrooms but also reflect in the filmmaking.
The cinematography is instantly jarring (complimentary). Parsons knows exactly what he wants the shot to look like and the feeling it conveys, and his DP Jeremy Cox knows how to get the shot. No shot is ever really traditional – especially in the ‘real’ world. Whether the camera is in weird place or angle, or if the subject is directly in the middle of the frame.
It gives you this uneasy feeling. Ironically, the camera placement and movement felt more ‘natural’ in the Backrooms. Whether this was directly intentional to reflective how Clark (Chiwetel Ejiofor) uses the Backrooms as an escape method or the fact that the production design does all the uncomfortable-ness for them.
Our main characters, Clark and Mary (Renate Reinsve) both share their own trauma and shape the Backrooms but it’s also surrounded by this level of vagueness. We’re told what happens with Clark but never shown and for Mary we see the trauma, but don’t really know the why behind it. There is a scene where her mother is in a mental hospital but I feel like her actions could go deeper than just being insane.
Anyway, this vagueness is translated to the Backrooms. It’s almost a manifestation of their trauma. All the furniture piled up being both of theirs with Clark as the manager of a furniture store but also the way Mary’s mother used to barricade doors. This bridging together of the two worlds and their psychological states is easily the best aspect about the film and it just doesn’t maintain this peak or ever reach it again.
The weakest part of the film was its script. The story is Parsons’ but he didn’t actually write the script and I’m unsure if it’s for the best or not. I’m not surprised they hired a relatively professional screenwriter to actually write it but what we got feels off. To be honest I’m not actually too sure how to describe it but it’s just weird. It’s not too deep but it’s also not too basic.
It’s at this point where it should be the right level of ambiguity where it doesn’t reveal too much but also leaves room for theorising. Strangely it does both of those things but again I can’t really describe if I’m being honest. It also makes the two characters feel flat. Despite learning about their trauma, they’re just so uninteresting if I’m honest and no where near developed enough for me to elicit any kind of emotion for them in the third act.
However, what makes up for the subpar script is the talent of Chiwetel Ejiofor and Renate Reinsve. If they weren’t incredible talents this film would be a lot worse. They are acting at the best of their ability and make the script feel believable. Maybe that’s why it’s so hard for me to pinpoint what’s wrong with the script.
Backrooms is an incredibly strong directorial debut that has incredible production design, cinematography and performances showing that Parsons has what it takes to make it big but is ultimately dragged down by the painfully weird script that gives the characters little emotional attachment and doesn’t do his ideas justice.
Backrooms is now playing at the Lockworks.