The aesthetics of liminality, arising from online images and storytelling revolving around emptied public spaces and mediated encounters with the uncanny, have lately penetrated cinema. Jane Schoenbrun’s body of work centers adolescent interactions with media that can shape and warp one’s identity; theirs is a world of direct contact with subterranean meanings facilitated through pop culture, awash with glowing screens and staticky synths. Kane Parsons’
Backrooms, with its sprawling corridors covered in half-remembered commercial décor, marked the full-on mainstream breakthrough...
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