Renate Reinsve

Backrooms (2026): Kane Parsons Has Something Here, But Maybe Not for Me

Posted on by Jack Drees

“Backrooms” is directed by Kane Parsons, who also created a science fiction web series of the same name. This film stars Chiwetel Ejiofor (Doctor Strange, The Lion King), Renate Reinsve (Sentimental Value, The Worst Person in the World), Mark Duplass (Creep, Safety Not Guaranteed), Finn Bennett (Warfare, Hope Gap), and Lukita Maxwell (Afraid, Shrinking). This film is about a man who discovers an alternate dimension, as well as his therapist’s mission to save him.

“Backrooms” is a movie that I found out about through a friend of a friend. I spend a lot of time on the Internet. Where do you think I posted this review? But despite dedicating portions of my life to the web, I was never once familiar with the story behind “Backrooms.” Apparently, director Kane Parsons is, as this film is not only inspired by the 2019 Internet story, but this is not the first time he made a project linked to it. He turned the idea into a web series on his YouTube channel, and now, he is getting to bring his creativity to the big screen with the same concept.

I love seeing YouTubers get their shot at making theatrical releases. One of my favorite YouTubers, Chris Stuckmann, released “Shelby Oaks” last year, which I quite enjoyed. While I have yet to check out the movie, I heard some decent things about Markiplier’s “Iron Lung.” “Backrooms” looked like another great example of someone possibly transitioning from YouTuber to filmmaker. I am unfamiliar with Parsons’ background as a filmmaker, but I have to say I am thoroughly impressed with his efforts here.

Kane Parsons not only released a feature film through A24, which is an extraordinary bragging right at any age, but he did so at the age of 20. On top of that, he topped the domestic box office on the film’s opening weekend with $81.5 million. He is officially the youngest filmmaker to reach the number one spot.

This film definitely looks like it has less money put into it than some of its competition like “Star Wars: Mandalorian and Grogu,” which funny enough, looks cheap by “Star Wars” movie standards. But just because the film is made with a smaller budget does not mean that it is lacking in style. The film switches aspect ratios from time to time and even features some blurry 4:3 footage, sometimes enhancing the scares. The film reminds me a bit of “Weapons” in the sense that my skin never tended to crawl while watching it, but there was still a sense of consistent creepiness from start to finish. Parsons nails the atmosphere of his picture. It feels intimate, but packs a glorious punch while doing so.

In addition to reminding me of other movies, this film also reminded me of a couple video games including “The Stanley Parable” and “Portal.” The latter in particular, according to Parsons, served as a massive piece of inspiration for the film. It is easy to see why. Not only does this movie see its characters constantly going in and out of separate dimensions, but the score constantly lingers in the background. This takes me back to times where I played the first “Portal” game in particular. The music is by no means obnoxious. In fact, it is sometimes surprisingly calming, but does occasionally offer a chill. Speaking of the score, not only is this film helmed by Kane Parsons, one of the industry’s youngest directors, but he also collaborated on the making of its music alongside Edo Van Breeman.

In fact, despite a couple video game-based movies coming out this year like “The Super Mario Galaxy Movie” and “Mortal Kombat II,” one could argue that “Backrooms” is the most video game-like title released in 2026 yet. As our characters explore the titular alternate dimension, there is a sense that I was there with them, learning about the space in the same way they did. I have no idea if I would have felt any different if I had more familiarity with this material beforehand, but this film immersed me in the sense that I was someplace I had not been before and constantly trying to learn the way of the land.

Now that I have had time to think about it, “Backrooms” is not my favorite horror film. It is not bad. It has its moments, but if there is one thing about this film I am bound to remember more than anything else, one could argue it is the overall simplicity it delivers. While there are complicated elements throughout the film in terms of the story and characterization, there is a beautiful simplicity in the film’s sets, locations, and shots. I love a good film that reaches for the sky and offers tons of grand imagery, but that does not need to be the case every time, and “Backrooms” effectively shows why.

Having seen the marketing for this film, it does a really good job at succeeding where many other campaigns fail. Having seen a trailer or two, I had a sense of what this movie would be about, but the marketing splendidly hides so much material. It teases a lot, but it never gives a full picture. When it comes to the aspects involving the alternate dimension, I enjoyed unpacking more of what the film had to offer. That said, much of the film is about Clark’s (Ejiofor’s) journey in therapy, as well as his struggles with alcoholism and his marriage. I cannot quite put my finger on why I was not as attached as I could have been to the main character, but I wish I were a little more invested in his journey. That said, if I had to guess, part of it might be because the best character in the movie is not even a person. It is not even a living thing. One could argue it is the Backrooms themselves. Yes, we see Clark unravel the mystery of this alternate dimension and how such unraveling has an effect on his personal struggles in the real world, but despite a really solid performance on Ejiofor’s part, I did not find his journey outside the Backrooms as riveting as maybe the movie wanted me to. There are no “bad” scenes in the movie, but there are a handful of scenes in this film that I am going to remember more than others. Whether it is Clark discovering the backrooms for the first time, showing it off to other people, or the same character trying to keep himself together while making a commercial for a furniture store.

By the way, said furniture store is called Cap’n Clark’s Ottoman Empire. Whenever my dad and I would find ourselves in a furniture store, we would often utter the phrase “ottoman empire” as part of a joke. Fascinating to see we are not the only people with clever taste in furniture puns.

Not to beat a dead horse, but if I was not already clear enough, this movie took my “Backrooms” virginity. While I cannot quite say that this movie made me desperate to see more of the lore online, it did make me a fan of Kane Parsons, who clearly has a passion for the material he is showcasing. He also has a talent for directing by unleashing good performances out of his cast. Parsons proves that when it comes to making cinema, age is just a number. I have a feeling his next outing will be stronger than this, but I think “Backrooms” is a decent start.

In the end, “Backrooms” is an atmospherically pleasing horror film, but I am not going to pretend that it is the most riveting material I have ever seen. I like some of the characters, and the film for the most part is well-paced. But this film, despite being a connected story, feels like two movies in one where half the story is superior to the other. To my surprise, I was more interested in the Backrooms portion of the movie compared to the scenes involving Clark’s personal struggles. Even with its drawbacks, this movie made me a Kane Parsons fan. I wish nothing but the best for his future. I am going to give “Backrooms” a 6/10.

I do want to give a little disclaimer though about my experience watching this movie, as my reviews for the most part are based on first impressions, part of me does at some point want to give this movie a second viewing and see if my opinion changes. Because I did something at the cinema for this movie that I do not usually do. I walked out of it as it was playing and came back minutes later. For the record, I walked out because I was at a dine-in theater and they never gave me my cheeseburger and fries that I ordered prior to sitting down, which by the way, I already paid for. So, more than halfway through the film, I had to go deal with that. It is quite possible that my lackluster mood during the screening due to this incident may have played a factor in my verdict. Granted, it is a positive verdict, but on the low end. Part of me is surprised I am not rating this higher. I do not think I missed anything super important, but for all I know, I could have kept myself away from the best part of the movie. Who knows?

“Backrooms” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! As a reminder, the latest episode of Scene Before’s original web series Movie Requests is now online! I just posted it Saturday. If you missed the sixth episode of the series, it features comedian and television host Chris Hardwick, who suggested I should watch “Real Genius.” Be sure to check out the video, and if you enjoy it, leave a like and subscribe to my YouTube channel, that way you do not miss new episodes down the line.

Speaking of which, in the coming days, I am going to be revealing five more guests who are going to be featured in Movie Requests. I had a chance to hear their suggestions earlier this year, and I am excited to share them all with you. Right now, the guests are being referred to as “An Asgardian,” “A Ring-Bearer,” ” A Rose,” “A Ruiner,” and “A Tenderloin.” Who do you think they are? Take your guesses, and leave them in the comments section!

My next review is going to be for “Masters of the Universe!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Another World,” “The Breadwinner,” “Disclosure Day,” and “Toy Story 5!” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Backrooms?” What did you think about it? Or, are you familiar at all with the Backrooms lore? Let me know down below! Scene Before is your click to the flicks!

Sentimental Value (2025): The House That Joachim Trier Built

Posted on by Jack Drees

“Sentimental Value” is directed by Joachim Trier (The Worst Person in the World, Louder Than Bombs) and stars Renate Reinsve (Presumed Innocent, A Different Man), Stellan Skarsgård (Dune, Andor), Inga Ibsdotter Lilleaas (Women in Oversized Men’s Shirts, A Beautiful Life), and Elle Fanning (Maleficent, The Neon Demon). This film is about the relationship between a filmmaker and his two estranged daughters, which only becomes more complicated when one of them declines to be in a film based on their family’s history.

Of the many prestige titles coming out at the end of 2025, one of the names that eventually found its name somewhere on my must see list was “Sentimental Value.” The film’s trailer seemed to tap into its central family drama, making for a rather intriguing idea. I did not care that it had a couple big stars or acclaimed names behind the scenes, though such things happened to be a bonus. Though selling me on a movie is not enough, I wanted to dive deeper into what I was buying, and what I bought was a fulfilling experience that highlights the ups and downs that comes with making personal art. Or in this movie’s case, perhaps as close as one can get to personal art.

Few things in life are as important as a good first impression. And “Sentimental Value” brings forth a dynamite first impression. The movie starts off with some of the best narration I have heard in a long time. The opening scene of the film is narrated from the perspective of a young Nora, one of the two daughters who play a large role in the story, and it taps into the idea of whether her house was alive, or happened to be aware of everything happening on the inside. Things such as the memories being made as well as the wear and tear that was being done to it over time. The editing throughout the scene perfectly matches each thought and neatly sets up everything that happens after, considering how much of a role that house continues to play in the characters’ lives.

Despite the film being a Norwegian production, “Sentimental Value” at times feels more like something straight out of Hollywood. Part of it has to do with the film having recognizable cast members including Stellan Skarsgård, who kills it as Gustav. But there is also Elle Fanning, who plays Rachel Kemp, an American actress. Kemp ends up taking the role in which Gustav originally asked Nora to play in his film, and I thought her presence often did a great job at representing Gustav’s tendency to sell out for the sake of his project. There is a great scene where Nora is riding an escalator and we see endless screens playing the same ad of Kemp as she’s going up.

The events in “Sentimental Value” very much reflect its name. Much of the movie revolves around a family home. In fact, one of the things Gustav wanted to make happen in his movie was being able to shoot it at said house. While the film does not dive into Gustav’s entire resume, it is easy to assume that  “Sentimental Value” is arguably Gustav’s most personal project yet considering he wants either someone or some place he knows in it. There is a saying that people should write what they know. There is also a saying that in filmmaking it is not a matter of what you know, and instead, who you know. While the latter can sometimes be seen as a negative in terms of allowing certain people a chance to find work, this movie does sometimes showcase the beauty and fun of working alongside family. For something like Gustav’s project, it only makes it more personal.

“Sentimental Value” is far from my favorite 2025 release. Though I do highly recommend seeing it, especially with someone you know. I had the privilege of seeing this film with a friend, and we had a pretty insightful discussion about it after. We knew a bit about each other so we were able to connect this movie to our lives. For example, throughout the film, we see that one of the differences between Nora and Agnes is that the latter has children. Of course, Nora gets the comment from her dad that having children is something she will not regret. That is an area in which the two seem to disagree. One of my favorite moments in the film is when Nora and Agnes are talking about the concept of having children, and Nora says while she does not have them, she said being Agnes’ big sister felt like being her parent. I am 26 years old, single, and do not have children. Frankly, I debate each and every day whether it is actually right for me to have children. And if my children read this years from now, please know, I am not saying this because I regret having you, or that I fear I will regret having you. But when I was younger, part of me felt like I was playing, to a certain extent, a fatherly role with my sister’s upbringing.

I was also pleasantly surprised to see the film’s occasional comedy chops. At its core, “Sentimental Value” is a drama, but it also weaves in some natural humor. Every instance of comedy felt more like something in the moment rather than a planned attempt to make people holler. One of my favorite moments of the film is getting to see Gustav explaining to Rachel the main idea for one of his film’s scenes involving a stool. When it is revealed that the story that inspired said scene was fabricated, the way that such a thing is done had me laughing. That said, whether the film goes into its more lighthearted laughable moments, its darker moments where we get some backstory, or the quite literally sentimental moments somewhere in between, it makes for one of 2025’s most compelling screenplays.

One final note about the film. While Netflix had no hand in producing or distributing “Sentimental Value,” I found it amusing how Gustav’s upcoming project was at one point going to be a Netflix movie. The film notes that this is not exactly Gustav’s first choice. Of course, one of the questions asked by the press about the movie is if it is going to be in theaters, to which I chuckled. Netflix’s refusal to put movies in theaters is astounding to me. By the way, as a reminder, please check out my reviews for “A House of Dynamite” and “Frankenstein,” two Netflix movies I saw in theaters this year, as much as they want me tied to my couch.

In the end. “Sentimental Value” is a completely inviting and moving package. It is film that showcases the importance of family while also diving into one’s personal struggles of being an artist. It balances both of these ideas perfectly and makes something beautiful out of both of them. Again, there are other films released this year I prefer, but I could see “Sentimental Value” having replay value somewhere down the line. I am going to give “Sentimental Value” a 7/10.

“Sentimental Value” is now playing in theaters. Tickets are available now.

Thanks for reading this review! My next review is going to be for “Zootopia 2!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Wake Up Dead Man: A Knives Out Mystery,” “Jay Kelly,” “Bugonia,” “No Other Choice,” and “Fackham Hall.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Sentimental Value?” What did you think about it? Or, would you ever want to make a movie based on your family’s history? Let me know down below! Scene Before is your click to the flicks!