Are you sitting uncomfortably? How Backrooms upended the horror movie

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It was just a creepy picture on the internet. Now it’s the year’s freakiest film. Its 20-year-old auteur Kane Parsons and stars Chiwetel Ejiofor and Renate Reinsve take us through the terrifying labyrinth Chiwetel Ejiofor has been on a lot of movie sets, but Backrooms was something different: a 30,000 sq ft labyrinth of apparently random corridors and chambers, all carpeted, fluorescent lit and decorated in the same sickly yellow wallpaper. It was so big that people were getting lost in it, says Ejiofor: “Especially on those first days. As you try to navigate your way around and you’re like: ‘I’m sure it’s this door, I’m sure that’s the way.’” He’s laughing at the recollection. “And you find yourself just back in the wrong corner of the whole studio and you’re like: ‘Get me some help!’” This is kind of the point of Backrooms – the movie and the online phenomenon that spawned it. It’s a concept that takes some unpacking, but as the premise for a buzzy A24 horror freakout, ...
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The Virgin Suicides review – Sofia Coppola’s debut rereleased with solemn trigger-warning

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Sunlit suburban calm masks the shocking nature of the story itself: a horrendous tragedy in the guise of a teenage coming-of-age movie

Nearly a quarter of a century ago, Sofia Coppola made her feature directing debut with this adaptation of the literary sensation of its day: Jeffrey Eugenides’s novel about five teen sisters in 70s suburban Michigan who take their own lives. Now it is rereleased with a solemn trigger-warning disclaimer at the beginning about certain historic attitudes which might now cause offence; these are unspecified, but appears to mean the entire premise of the film, up there in the title, but which is treated more circumspectly nowadays in the context of new ideas around self-harm and “suicidal ideation”.

This was a movie which mystified as many as it entranced, and it would be honest of me to admit that I didn’t quite understand it back in 2000, and maybe don’t quite now. But I can perhaps appreciate with more clarity its artistry and poise and the confident way Coppola allows her film to be serenely mysterious and almost affectless in its sunlit suburban calm, a reticence which appears to mask the shocking nature of the story itself: a horrendous tragedy in the guise of a teenage coming-of-age movie.

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