![\"Behind](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/06\/6503dcc17e172b901879bb2808f2a80d.jpeg\"\/)
<\/p>\n
Behind the scenes in one of the backrooms<\/p>\n
Photo: Asterios Moutsokapas![\"The](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/06\/31fa99a2cdb436348503fe1a21fcfb03.jpeg\"\/)
<\/p>\n
The concept describes a series of infinite rooms, populated by pale yellow wallpaper, carpeted floors, and random pieces of furniture.<\/p>\n
Photo: Asterios Moutsokapas<\/p>\n
Backrooms is based on an expansive cyber-horror story that took shape via a 2019 4chan post that developed the intricate online lore. On the forum, one user posted an image of what is now the Platonic ideal of a backroom, and another commented with a succinct narrative for the concept: Defined by \u201cthe stink of old moist carpet, the madness of mono-yellow, the endless background noise of fluorescent lights at maximum hum-buzz,\u201d backrooms span millions of square feet across multiple levels\u2014and, spoiler alert, they harbor evil entities. On subreddits and other internet corners, users added their own fictional accounts of exiting reality and finding themselves lost in the backrooms.<\/p>\n
Over time, the concept grew into different forums. Kane Parsons brought his version of the story to life online when he began creating short YouTube films based on the concept in 2022. His videos caught A24\u2019s eye, and the studio offered him an opportunity to turn the story into a feature film\u2014at 20, he\u2019s the youngest director the production company has ever worked with.<\/p>\n
![\"Kane](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/06\/5f79679e8d03419cf193e8d2833d286b.jpeg\"\/)
<\/p>\n
Kane Parsons on the set of Backrooms<\/p>\n
Photo: Wendigoon<\/p>\n
Parsons worked mostly using the 3D computer rendering software Blender, but taking his concept to the big screen required something more concrete. Production designer Danny Vermette was tasked with erecting the backrooms on a soundstage in Vancouver.<\/p>\n
Though the film emerged from a collective concept, \u201cit\u2019s [Parsons\u2019s] universe, and he\u2019s put a lot of thought and energy into it,\u201d Vermette tells AD. To start, Vermette asked Parsons to render the film set of his dreams in Blender. \u201cWhen he sent the file over, it crashed my computer,\u201d he says. \u201cIt was something like 100,000 square feet.\u201d<\/p>\n
Budget and spatial constraints meant that they wouldn\u2019t be able to build the entire labyrinth world, but the pair determined what could be built practically and where they\u2019d have to supplement with SFX. Vermette\u2019s team ended up building 30,000 square feet of half walls, \u201cweird little corners,\u201d and dead ends across four soundstages. The team used 1,520-foot-tall scaffolding to create multiple levels within the set, resulting in awkward spaces for the actors to interact with. Cavernous channels and steep floors made the space feel like a living breathing thing trying to trap intruders. \u201cWe wanted to sell the idea that there isn\u2019t a person behind the building of this,\u201d Vermette says.<\/p>\n
![\"The](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/06\/54790d53efe7601f75f4ce92dd327474.jpeg\"\/)
<\/p>\n
The yellow wallpaper may be the most important visual motif in the backrooms\u2014Vermette found a local producer to create 40 product tests, with the end goal being an identical match to Parsons\u2019s (right) YouTube videos. \u201cThe real test was to put your iPhone camera up and take a photo,\u201d Vermette says. \u201cIf it felt like the Blender file, we know we won.\u201d<\/p>\n
Photo: Asterios Moutsokapas<\/p>\n
The film stars Chiwetel Ejiofor as Clark, an alcoholic architect turned furniture salesman who stumbles upon the backrooms in the basement of Captain Clark\u2019s, his kitschy pirate-themed warehouse. The actor spends much of the film inside the never-ending maze\u2014during a Q&A after a screening of the film, the actor even admitted to getting lost while looking for catering on set\u2014but the film features spaces from the \u201creal world\u201d as well. For Captain Clark\u2019s and a therapist\u2019s office, Vermette channeled the floral chintz, wood panelling, and dated technology of the \u201990s, when the film is set. Boxy TVs are always playing infomercials, and the graphic design evokes bargain retail clich\u00e9s. \u201cEVERYTHING MUST GO!\u201d one sign in Captain Clark\u2019s screams. \u201cNO CREDIT NEEDED!\u201d says another. Vermette \u201cwanted to continue the theme of awkwardness and the level of discomfort,\u201d and the store design definitely communicates Clark\u2019s bleak and angry worldview. Effectively homeless, he sleeps in his floor model bed, surrounding it with multiple display lamps to create a sad cocoon. It\u2019s a bit pathetic but it\u2019s also \u201ctongue-in-cheek,\u201d in Vermette\u2019s words. Just as the backrooms set design added to the movie\u2019s jump-scare effect, the real world\u2019s design added an unanticipated comedic one.<\/p>\n
Schizophrenic hallucination, memory palace, haunted house, Reddit thread come to life\u2014there\u2019s tons of ways to interpret the symbolism of the backrooms. At a preview of the film at the Times Square AMC last Thursday, Parsons noted that he sees them as \u201cparallel to the physical mechanics of human memory.\u201d Maybe the infinite interpretations are why people are so engaged in the concept online. Before filming, Ejiofor perused forums to get an understanding of the backrooms concept and liminal spaces in general. \u201cI ended up falling down this bizarre rabbit hole and feeling completely lost but also like an itch was being scratched that I didn\u2019t even know that I had,\u201d he said.<\/p>\n
![\"Parsons](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/06\/47b61b441b9c484b70a431f0a0735bdd.jpeg\"\/)
<\/p>\n
Parsons and Ejiofor on the set of Backrooms<\/p>\n
Photo: Asterios Moutsokapas<\/p>\n
\u201cI feel like every building is alive in a way,\u201d said Parsons at the same screening. The Times Square AMC happens to be one of the more uncanny spaces in midtown New York. If this was intentional, the Backrooms marketing team deserves a round of applause. If not, they still do for launching this peel-and-stick wallpaper<\/a> inspired by the film.<\/p>\n