When I was off seeing a movie recently in a theater, I happened to catch a trailer for Backrooms, a horror movie based on a fictional location popularized on 4chan. Put simply:
The Backrooms are usually portrayed as an impossibly large extradimensional complex of empty rooms, accessed by exiting reality.
Watching the trailer itself will give you a better sense of what I’m referring to:
So not only is it about discovering an endless series of rooms and corridors, but what’s in there is familiar… but also slightly off. The way things are arranged generally doesn’t make sense… which makes the environment unsettling at its core and thus, a great backdrop upon which to base a horror movie. The fact that there’s something creepy moving around down there only adds to it.
Beyond the horror, what immediately piqued my interest was this idea of exploring a vast hidden space and more importantly, the process I’d undergo to fully map the space. I would love to be in that position and to bring some order to what was otherwise a complex maze. Ideally without something stomping around looking to slaughter me.
So anyway, I knew I had to see it. And though streaming has done quite a bit to eliminate theaters, for certain movies, I still go out of my way to see them in person for the full experience. Given that Backrooms wasn’t shot in IMAX or anything like that, I knew that I could simply go to a familiar, easy-to-access theater from my past – it was a particular Cinema Guzzo theater that I had gone to countless times before. However, it had been so long since I’d gone that the theater had been sold and had new management – and was now operating under the brand Cine Starz, so it’d be my first time seeing what changed.
And so I organized something with a friend, and on the day of, I arrived before he did, and walked in. I was immediately taken aback:

Immediately, I was struck by the fact that there was no ticket counter (it used to be exactly where you see a half-wall coming down from the ceiling), and beyond that, I could see a lot of depth ahead of me since there were no booths – but absolutely no one was there, it was just me. Seeing as I actually planned to buy a ticket in person, I ventured forth.

As I reached where the ticket booths should have been, I noticed arcade machines on the right. This was notable because in the past, Guzzo had a large, two-floor arcade area – including indoor bumper cars – I could see that the area was walled off, but these machines reflected the area that once was.

It was at the very end that I turned and saw signs of life. The snack counter looked as it always had, and there were actually people around. With no ticket booths in sight, I walked over to the counter and asked a staff member if that was where I could buy tickets. Weirdly enough, they confirmed this was the case… and with a bit of thought, I could understand why. With the advent of streaming, it was clear that cinemas were getting less foot traffic – and so Cine Starz essentially eliminated the ticket booth staff and had their snack-dispensing employees handle those transactions. Smart.
After I met up with my friend and we bought our tickets, we started heading towards cinema 11. Looking up, I noticed something odd.

They had cinemas 4 through 12… what happened to 1, 2, 3? Also, look at the 6… it’s clearly a glitched display that also shows the number 18 at the same time, a room that doesn’t even exist. This was definitely the Guzzo I once knew, but it had changed – it felt wrong, a twisted visage of its former self. I laughed at how perfect it was to be seeing a movie about liminal spaces and be having the same unsettling experience with a nostalgic theater from my past.
So we watched the movie, had a good time, and I can tell you that I fully understood what Cine Starz was doing. First, they chopped off parts of the Guzzo theater and were renting it to external companies – one became a gym, another offered some kind of sports experience. This meant fewer screens for Cine Starz, but it also meant more income in a time where movie theaters were less popular than ever. To their credit, though they drastically reduced available seats per room, they seriously upgraded the seating, greatly increasing comfort – even allowing you to recline and raise your legs.
Backrooms, if you’re curious, was a weird movie – definitely worth seeing, but I’m not sure I would recommend it for everyone. According to Wikipedia, the director, Kane Parsons, “[a]t age 20, […] became the youngest director in cinema history to have a film debut at number one at both the domestic and global box offices.” And also, soon after I saw it, they re-released another version of the film, titled “Backrooms: Everything Must Go Edition” with 15 minutes of bonus footage. Definitely something I intended to see, but I would more than likely wait to stream it. It was a strong debut for a super young director, and even the re-release was a clever move to boost sales… even if I didn’t take the bait.
Overall, the experience was a positive one – I just never expected that the theater itself would be the liminal space appetizer for the evening, one deeply rooted in my own nostalgia, my own memories. And only then would I actually sit in my seat and experience another liminal space, this time, a little more threatening.







