The Architecture of Fear: Exploring the Horror of 'Backrooms'
In the realm of horror, few things are as chilling as the spaces we inhabit. Backrooms, the latest A24 thriller, delves into this concept, crafting a world where architecture becomes a sinister force. The film, directed by the young visionary Kane Parsons, takes us on a journey through the 'backrooms'—a term that has gained traction in popular culture, thanks to Parsons' YouTube series of the same name.
Liminal Spaces and the Eerie
What makes Backrooms particularly intriguing is its use of 'liminal spaces'. These are the in-between places, the leftovers of advanced modernism, as described by philosopher Mark Auge and architect Rem Koolhaas. Think of airports, department stores, and, most notably, dead malls—spaces devoid of identity and history, yet hauntingly familiar. The film's protagonist, Clark, an architect-turned-furniture store owner, stumbles upon a portal to this eerie realm, setting the stage for a psychological thriller.
Personally, I find the concept of liminal spaces fascinating. They are the physical manifestation of transition, neither here nor there, and often overlooked in our daily lives. But in Backrooms, they become the very essence of horror. The film's ability to transform these mundane locations into sources of dread is a testament to Parsons' creative genius.
The Uncanny and the Institutional
The horror in Backrooms is not just about the unknown but also about the familiar turned strange. This is where the concept of the 'institutional uncanny' comes into play. As described by architect Damjan Jovanovic, it's the feeling of living in a world shaped by paperwork and bureaucracy, devoid of the warmth of human stories. The drop ceilings, fluorescent lights, and sterile environments are not just set pieces; they are symbols of a dehumanized world.
In my opinion, this is a powerful commentary on modern society. We often find ourselves in spaces designed for efficiency, not emotion. Backrooms forces us to confront the eerie nature of these institutional spaces, making us question the environments we've come to accept as normal.
Horror's Love Affair with Architecture
Backrooms is not the first to explore the horror potential of architecture. Films like Suspiria and Inferno by Dario Argento have long used buildings as characters in their own right. The labyrinthine corridors and nondescript rooms disorient the viewer, creating a sense of confusion and dread. Backrooms continues this tradition, drawing inspiration from these classics while adding its unique spin.
What I find especially interesting is how architecture, a field often associated with order and structure, can be twisted to evoke such powerful emotions. The film challenges our perception of spaces, making us see the potential horror in the everyday.
The Digital Age and Protocol Art
The digital age has brought new dimensions to this theme. Artists Mat Dryhurst and Holly Herndon introduce the concept of 'protocol art,' which explores the rules and algorithms that govern our digital lives. In Backrooms, the endless replication of fluorescent-lit rooms feels like a physical manifestation of digital repetition, adding a layer of modern anxiety to the traditional horror elements.
This blend of the physical and digital is a reflection of our times. It's not just about the spaces we inhabit but also the systems that shape them. From bureaucracy to algorithms, Backrooms suggests that the true horror might lie in the invisible forces controlling our world.
Conclusion: A Journey into the Uncanny
Backrooms is more than just a horror film; it's an exploration of the uncanny in our built environment. It challenges us to reconsider the spaces we inhabit and the forces that shape them. Through its clever use of liminal spaces and institutional aesthetics, the film invites us to question the familiar and embrace the eerie.
As an audience, we are left with a lingering sense of unease, not just about the film's mysterious portals but also about the world we live in. Perhaps the true horror is not in the backrooms themselves but in the realization that our everyday surroundings can be just as sinister.
