Backrooms 4K 2026 Ultra HD 2160p

Based on a web series created by American YouTuber Kane Parsons. The film is inspired by the popular urban legend of the Backstage.

The main plot revolves around the fictional research institute Async, which opens a portal to another dimension consisting of endless yellow corridors. The main characters are the institute’s employees, who explore the spaces of the Backstage (referred to as “The Complex” in the series’ universe).

User Review

Liminal spaces, corporate conspiracies, furniture sinking into textures, monsters—all of these are metaphors for a critique of the concept of psychotherapy. Right from the start, we are shown a scene from a psychotherapy session, where the psychologist and her patient are reenacting a scene from the protagonist’s memory—not for the first time. And, as if continuing the endless and meaningless therapy sessions that rob the “processed” generation of time spent in reflection and a considerable amount of money—symbolized by the mounting bills for maintaining a furniture store—we find ourselves in equally endless and meaningless backstage labyrinths. And the yellow color of the surroundings—which evokes such an inexplicable yet omnipresent sense of unease (sound familiar?)—was not chosen by chance. Every corner, every open door, every room that seems similar to the previous ones—it’s as if they were traumatic memories to which we constantly return, trying to recall fading details, imagining new endings, and speculating on our opponents’ behavior, thereby distorting the original events and images of real people. And all this delving into the depths of the subject’s mind is supposedly necessary to get to the heart of the problem. But the truth is that most people don’t need a solution; they need an excuse for their actions, confirmation that they are right at the expense of others. For them, life is not a constant compromise but an abuse of attempts to convince themselves that the problem lies not in their own immaturity but in the immaturity of others—as clearly shown in the reenactment of the argument between the protagonist and his ex-wife, which the psychologist’s character is forced to act out. Only this time, the action takes place not in the psychologist’s familiar territory, but within the protagonist’s mind, where they are surrounded by distorted images from his memories—images she is no longer willing to indulge.

Another problem with the concept of psychotherapy that the creators attempt to address is that this field is often entered by people who are not entirely right in the head themselves. The paradox: traumatized people try to treat other traumatized people (the scene depicting the emergence of a liminal space). And at the center of this entire labyrinth, from which there isn’t always an obvious way out, lies emptiness. Only a few—those ready to accept their own and others’ imperfections, ready to shoulder the burden of responsibility for their actions—will discover the winding path to reality and be able to traverse it without being dragged into the abyss of endless self-examination.

Progress does not stand still; new technologies not only allow us to better diagnose certain problems in people but can also serve as their source—like that MRI machine, which set off a chain reaction of new entry points into the backstage, creating a hothouse environment for observing an experiment in which we voluntarily consent to have our brains probed. And we don’t even notice how our unique personalities are being reshaped into a standardized doll, whose problems all stem from childhood. Learned helplessness—the inability to take responsibility—makes us easy prey for manipulation by those who design so-called liminal spaces.

People today are increasingly growing up later; we all know examples of our parents, who by the age of 30 already had their own homes and, perhaps, more than one child. Today, however, the problems facing most people of their parents’ generation back then have been replaced by questions like, “Should I play paddle today or go swimming at the lake? “Which flavor of chips should I get—crab or sour cream and onion?” and so on. And all of these issues are reflected in the film’s main character. He’s already approaching 40; he runs his own fairly sizable business (and what kind—a furniture store, a very domestic, family-oriented venture); he wants to have children and possesses other traits typical of a mature, responsible man, but on the other hand, he just can’t seem to build a stable relationship (and the reason may not lie solely with him, but in the combination of two equally childish personalities). His own childishness is embodied in the image of a pirate—a lone adventurer.

How can this be dealt with? You can figure it out from what I’ve described above. Although, perhaps this is all a figment of my overactive imagination, and I’m the one who’s sick here. Still, it seems to me that the creators, even if they didn’t intend to offer a solution to the problem, definitely wanted to highlight it. And the setting, which was originally intended for a different project, fits perfectly here.

Info Video

Codec: HEVC / H.265 (84.3 Mb/s)
Resolution: Native 4K (2160p)
HDR: Dolby Vision, HDR10+
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1

Info Audio

#English: DTS-HD Master Audio 5.1
#French: DTS-HD Master Audio 5.1

Info Subtitles