The 20-year-old filmmaker Kane Parsons has risen to the top so fast that he’s had zero time to process how far he’s come.
“It’s been go, go, go,” Parsons tells WIRED. “Even the tiniest bit of a break,” he says, would give him some better perspective on everything that’s happened over the past few years. But for the moment, he’s soaking up the limelight—and thinks it’ll be at least another month before he has the space to reflect on his big break.
Backrooms, a moody horror piece that stars Chiwetel Ejiofor and Renate Reinsve, is a cerebral expansion of Parsons’ atmospheric YouTube web series of the same name. It marks his feature debut as A24’s youngest director to date, at the helm of a movie long anticipated by a huge and hungry internet fan base. You could hardly ask for a better kick start to summer blockbuster season.
Yet Parsons makes his meteoric success sound like something of an accident. “I never went into making that first short or making the series with the intention of, ‘I want to do this so I can prove to Hollywood that this is an engine that is viable for a film,’” he says.
That original nine-minute video, titled “The Backrooms (Found Footage)” and uploaded by Parsons in 2022, was inspired by—of all things—a sinister 4chan meme that spawned a collaborative mythology. The 2019 post on the notorious image board’s /x/ forum included a disquieting photo of an empty hallway bathed in sickly light. An anonymous user described being transported into “the Backrooms, where it’s nothing but the stink of old, moist carpet, the madness of mono-yellow, the endless background noise of fluorescent lights at maximum hum-buzz, and approximately six hundred million square miles of randomly segmented empty rooms to be trapped in.”
“God save you if you hear something wandering around nearby, because it sure as hell has heard you,” the 4chan user added.
Other people took up the concept, creating spinoff imagery and stories on various social platforms. Parsons encountered these, as well as then-popular memes about surreal liminal spaces—the Backrooms being a paranormal extension of this phenomenon. He was intrigued by what this material evoked but felt it hadn’t been fully explored.
“It was clearly scratching something that I didn’t really see much other media scratching,” he says. “I think there was an element of like, I wish there was more for me to engage with here.”
To that end, Parsons decided to see whether he could conjure an immersive vision of the Backrooms with Blender 3D graphics software and Adobe After Effects. That initial video, in which a person is chased through the Backrooms by a malevolent life-form, went massively viral, with viewers marveling at Parsons’ technical skill and the chilling suspense he’d created. Fans excitedly speculated on the larger mythology of the uncanny setting. Within a month, studios were approaching Parsons with hopes for a full-length movie.
Although still a teenager at the time, Parsons knew enough to be wary of the offers. “I was very distrustful of pretty much everything that was happening, just because I feel like it’s a very common experience for that sort of event to turn into nothing,” he says. “Or you end up with less than nothing.”
Ultimately, however, he got what a young filmmaker dreams of: the chance to pursue his vision, in this case with top talent at his side. The feature film has a script by Homeland and Westworld writer Will Soodik, and its producers include horror maestros Osgood Perkins and James Wan.
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