#thebackrooms — Public Fediverse posts on home.social

Apertura Intelectual @[email protected] · 2026-07-09 · 17:11 UTC

Del clic a la taquilla: YouTube como el nuevo guionista

Por: Jonathan Hellwig Guerra

Antes de comenzar este artículo, te tengo una propuesta. “Acude a cualquier evento cultural sin pretensiones, te puedes llevar una grata sorpresa”.

El éxito de ‘The Backrooms’ y ‘Obsession’ confirma que el verdadero grupo foco del cine de terror moderno no está en las salas de juntas, sino en los canales independientes de internet.

Durante años, Hollywood buscó su próxima mina de oro en los cómics, las novelas superventas o los remakes de clásicos nostálgicos. Sin embargo, el panorama actual dicta una realidad completamente distinta: los nuevos maestros del suspenso y las propiedades intelectuales más lucrativas están naciendo en computadoras caseras y distribuidos gratuitamente en YouTube.

El reciente fenómeno cinematográfico de The Backrooms, dirigida por el joven Kane Parsons bajo el sello de A24, no es un hecho aislado. Es la migración cultural donde el lenguaje nativo de internet —el horror analógico, los espacios liminales y el falso documental— ha demostrado tener un pulso mucho más firme sobre las ansiedades del público que cualquier fórmula de estudio tradicional.

¿La era de los Directores Algorítmicos?

Esta tendencia llegó para quedarse con el éxito de Obsession (2026). Nacidos del canal de sketches “that’s a bad idea”, Curry Barker y Cooper Tomlinson pasaron de la total independencia a recaudar más de 400 millones de dólares bajo el brazo de Blumhouse. Su mérito, al igual que el de los hermanos Philippou con la aclamada Talk to Me (2023), radica en una ventaja competitiva: ellos ya saben lo que a la audiencia le asusta porque han interactuado con ella en tiempo real. ¿Por qué?, me parece el creador de internet no trabaja en el vacío; su cine se moldea con la retroalimentación inmediata, refinando hasta convertirlo en un arma de precisión psicológica.

Otro ejemplo es la guerra de ofertas por los derechos de The Mandela Catalogue, la serie de horror analógico de Alex Kister que terminó en las manos Steven Spielberg a través de Amblin Entertainment. Hollywood ya no busca directores para que ejecuten sus ideas; está comprando las mentes creativas enteras junto con sus comunidades de millones de seguidores ya fidelizados.

El triunfo de la atmósfera sobre el presupuesto

Lo que hace verdaderamente fascinante a esta nueva ola de cineastas es su desprecio por las reglas estéticas convencionales del cine comercial. Skinamarink (2022), nacida de las pesadillas sugeridas por los usuarios en el canal de YouTube de Kyle Edward Ball, o el clásico corto Lights Out de David F. Sandberg, demostraron que no se necesitan millones de dólares en efectos especiales. Una esquina oscura, una textura granulada o el zumbido de una luz fluorescente bastan para generar pánico. Desde Marble Hornets (2009) y el mito de Slender Man, internet entendió que el terror se siente más real cuando parece robado de una cámara casera o un archivo gubernamental clasificado.

El dilema del mañana

El verdadero desafío para esta «Edad de Oro de YouTube en el Cine» radica en la preservación de su esencia. La frescura de estos creadores proviene de su total libertad y de la falta de comités ejecutivos que diluyan sus visiones.

A medida que estudios gigantescos absorban estas narrativas nacidas de la cultura de internet, la industria se enfrentará a una encrucijada: ¿permitirá Hollywood que estos jóvenes directores reinventen el lenguaje cinematográfico con su crudeza digital, o terminará domesticando el horror de internet para convertirlo en otra franquicia genérica más? Por ahora, el público lo demuestra con entradas, y la respuesta es clara: el futuro del posiblemente se creará desde un click.

Sígueme en mis redes

Sigue Apertura Intelectual en todas nuestras redes:

Te invitamos a que califiques esta información.

ENTRADAS RELACIONADAS

#EdadDeOroDeYouTubeEnElCine #A24 #AnalisisAI #AperturaIntelectual #Cinema #CineMexicano #CulturaDigital #Horror #ParaTi #PensamientoCrítico #ProduccionesMexicanas #Septimoarte #TheBackrooms #Viral #YouTube #Hellwig29 #Jonathanhguerra #AlexKister #AmblinEntertainment #Blumhouse #CanalDeSketchThatSABadIdea #Cine #cortoLightsOutDeDavidFSandberg #CurryBarkerYCooperTomlinson #DelClicALaTaquillaYouTubeComoElNuevoGuionista #DirectoresAlgorítmicos #FenómenosCinematográficos #hermanosPhilippou #Hollywood #horrorAnalógico #Innovación #JonathanHellwigGuerra #KaneParsons #LenguajeNativoDeInternet #MarbleHornets2009 #PantallaAbierta #pantallaabiertaai #PelículaObsession #PensaientoCrítico #SerieWebTheBackrooms #Skinamarink2022 #SlenderMan #StevenSpielberg #TalkToMe2023 #TheMandelaCatalogue #YouTubePisoParaSaltarALasSalasDeCine

#edaddeorodeyoutubeenelcine #a24 #analisisai #aperturaintelectual #cinema #cinemexicano

gaby_wald @[email protected] · 2026-06-20 · 11:29 UTC

"Backrooms : Plongée mitigée dans l’étrangeté du liminal"

#Backrooms #TheBackrooms #Liminal #LiminalSpace #Film ...

https://www.lemagducine.fr/cinema/critiques-films/backrooms-kane-parsons-critique-film-2026-10084052/

#backrooms #thebackrooms #liminal #liminalspace #film

Switzerland @[email protected] · 2026-06-18 · 14:45 UTC

https://www.europesays.com/ch/86911/ Basel Social Club Is Your Worst Corporate Nightmare—and Your Best Night Out #ArtFairs #ArtnetNews #Backrooms #Basel #BaselSocialClub #BaselSocialClub2026 #BaselSocialClubHighlights #BaselSocialClubReview #BernatDaviu #BombonProjects #CaldoWorldwide #ChloeWise #FabianLang #MarkWallinger #NickDoyle #OfficeBuilding #StemsGallery #TheBackrooms #TheBackroomsArt #UBS #VincentMoulinet #XiaoGuoHui

#xiaoguohui #vincentmoulinet #ubs #thebackroomsart #thebackrooms #stemsgallery

John Jr's Blog @[email protected] · 2026-06-18 · 05:15 UTC

Backrooms (Film)

File:Backrooms (film) poster.jpg

What Is It?

The 2026 American science fiction psychological horror movie Backrooms.

https://www.youtube.com/watch?v=0HjdiohVOik

https://www.youtube.com/watch?v=2z6a6NUFlsU

This is how Wikipedia describes this movie:

Backrooms is a 2026 American science fiction psychological horror film.[6]
Directed and co-scored by Kane Parsons (in his feature-length directorial debut) and written by Will Soodik.[7][8]
It is based on Parsons’s web series and inspired by the “Backrooms” creepypasta.
In the film, Clark (Chiwetel Ejiofor), a furniture store owner, and Mary (Renate Reinsve), his therapist.
Discover a dimension of seemingly endless liminal spaces accessed through the basement of the store.
Mark Duplass, Finn Bennett, and Lukita Maxwell also star.
After uploading the web series in January 2022.
Parsons was approached by several studios about potentially adapting his series into a feature film.
In February 2023, it was officially announced that work had begun on a film adaptation of the Backrooms.
Based on Parsons’s videos, with Parsons directing.
Roberto Patino was initially set to write the screenplay, but was replaced by Will Soodik.
Filming began in the summer of 2025 and concluded in August 2025.
Backrooms premiered at the Aero Theatre in Los Angeles on May 7, 2026.
And was theatrically released in the United States by A24 on May 29.
The film received positive reviews from critics and has grossed $140.4 million worldwide.
Becoming A24’s biggest opening and domestic box office performance.
And making Parsons the youngest filmmaker to reach number one at the American box office.
As well as becoming the third-highest-grossing horror film of 2026.
Cast
Krista Kosonen as Nora Kline, Mary’s mother[13][14]
Chiwetel Ejiofor as Clark, a furniture store owner and failed architect[9]
Renate Reinsve as Dr. Mary Kline, Clark’s therapist[10]
Mark Duplass as Phil, an Async scientist and Backrooms researcher[11]
Finn Bennett as Robert “Bobby” Franklin, Kat’s boyfriend[9]
Lukita Maxwell as Kathrine “Kat” Taylor, Clark’s employee and Bobby’s girlfriend[9]
Avan Jogia as Naren Warne, an Async explorer of the Backrooms
Robert Bobroczkyi [12] as Pirate Clark, a monstrous entity resembling Clark in a pirate costume that inhabits the Backrooms
Directed byKane ParsonsWritten byWill SoodikBased onBackrooms
by Kane ParsonsProduced byJames Wan
Michael Clear
Roberto Patino
Shawn Levy
Dan Cohen
Dan Levine
Osgood Perkins
Chris Ferguson
Peter Chernin
Jenno Topping
Kori AdelsonStarringChiwetel Ejiofor
Renate Reinsve
Mark Duplass
Finn Bennett
Lukita MaxwellCinematographyJeremy CoxEdited byGreg NgMusic byEdo Van Breemen
Kane ParsonsProduction
companiesNorth Road Films [a]
21 Laps Entertainment
Atomic Monster
Phobos
Oddfellows Entertainment[1]Distributed byA24Release datesMay 7, 2026 (Aero Theatre)
May 29, 2026 (United States)Running time110 minutes[2]CountryUnited StatesLanguageEnglishBudget$10 million[3]Box office$140.4 million[4][5]

https://www.youtube.com/watch?v=lrzdr78XK2Y

https://www.youtube.com/watch?v=gmFO_jwJIh4

My Thoughts

When my brother GC and I heard that Kane Parsons (Kane Pixels) was getting to make a Backrooms movie.

That would be distributed by A24 to movie theaters / the cinema.

We knew that we would probably watch it.

Because we follow his YouTube channel, and we have seen most of his short films about The Backrooms.

https://www.youtube.com/playlist?list=PLVAh-MgDVqvDUEq6qDXqORBioE4Yhol_z

As well as various other people’s unique takes on The Backrooms with their own short films on YouTube.

So we wanted to go out and support a YouTuber making his first major movie.

I did not realize how young he was until I heard it on the news.

Congratulations, young man, for achieving so much, and I look forward to your future projects.

This movie is not for everyone. Do not watch it when you are tired and distracted, et cetera.

Watch it when you are in the mood for a slower-paced indie movie with a liminal space.

I watched this on Sunday, May 31, 2026, at the Regal movie theater in the city of L.

With my brother GC, my brother CC, my brother KDC, and my sister-in-law KC.

Unfortunately, this movie did not stick to his usual formula for The Backrooms.

Which is first-person, found footage, and an exploration of the liminal space known as The Backrooms.

I wish that would have been the main focus of this movie.

Chiwetel Ejiofor and Renate Reinsve had good performances.

I hope to see Renate Reinsve in another movie or TV show in the future.

But I wish that they had spent more time exploring The Backrooms.

I also wish that we would have seen more unique areas in The Backrooms.

I also wish that a certain entity had either stayed in the shadows or that it did not look as goofy.

My brother GC and I did not like this movie as much as we had expected.

Because it was slower than expected and did not follow The Backrooms formulas as much as expected.

It was not bad, and I do want to watch it again when it is available at home.

Because I think that this might be a movie that I will like better on the second viewing.

Because when I left the movie theater / cinema, I was not exactly sure how I felt about this movie.

So I need to see it again.

Under more comfortable conditions, like at home when I am in the mood for this type of movie.

The rest of my family who watched it with me, besides my brother GC, did not like this movie.

But KDC and KC have disliked almost every movie that I have watched with them so far, so this is nothing new. :D

I would still recommend this movie to people who want to watch a movie like this.

I would rate it a 3.5 out of 5.

The end,

John Jr

#A24 #Backrooms #BackroomsFilm #ChiwetelEjiofor #Horror #KaneParsons #KanePixels #LiminalSpace #PsychologicalHorror #RenateReinsve #Review #ScienceFiction #TheBackrooms #YouTube

#a24 #backrooms #backroomsfilm #chiwetelejiofor #horror #kaneparsons