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Release and reception of Backrooms film

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2026-09-26 14:56 UTC → 2026-10-07 08:25 UTC · added ~~removed~~

The horror film ‘Backrooms,’ directed by Kane Parsons, is an adaptation of a popular internet creepypasta that originated as a 4chan image in 2019. Set in 1990s California, the film follows Clark (Chiwetel Ejiofor), a furniture store owner, and his therapist, Dr. Mary Kline (Renate Reinsve), as they become trapped in a surreal, infinite labyrinth of empty offices. ~~The setting serves as a metaphor for psychological entrapment and the tendency to repeat failed behaviors.~~ Produced in partnership with A24, Chernin Entertainment, 21 Laps Entertainment, and Atomic Monster, the project has achieved massive commercial success. Following its May 2026 premiere, the film ~~has~~ surpassed $400 million at the global box ~~office after nearly four months in theaters,~~ office, earning approximately $197.5 million domestically and $202.57 million internationally. Produced on a $10 million budget, it is the highest-grossing film in A24’s history, breaking the record held by ‘Marty Supreme.’ ~~Its success contributed to A24’s most successful summer~~ At 20 years old, Parsons became the youngest filmmaker to ~~date, with~~ direct a number one film at the ~~studio recording $237 million in total and outperforming major studios like Paramount and Warner Bros. in market share.~~ United States box office. Following its theatrical run, the film debuted on ~~the streaming platform~~ HBO Max on September 25, 2026, with a linear debut on HBO scheduled for September 26. At the Zurich Film Festival Summit, Parsons discussed the film’s transition from a YouTube series to a cinematic phenomenon. He noted that while the film is marketed as horror due to the “path of least resistance,” he does not view it as a traditional horror project and intends to seek more creative control over future works to avoid such labels. Industry executives suggested the success of Parsons and other YouTube-native ~~directors~~ directors, such as Curry Barker, could represent a shift in the theatrical landscape, potentially drawing Gen Z audiences back to cinemas.

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