Not only is the Backrooms movie really good, it’s also extremely successful. In its first weekend in theaters it destroyed the record for the best A24 release ever and earned nearly $120 million worldwide at the box office.

That bodes well for fans who were left wanting more after the movie’s ambiguous ending, because director Kane Parsons says he isn’t done with Backrooms yet. His film adaptation of his YouTube series wasn’t the end of the story, Parsons told Variety, and while he hasn’t officially confirmed that a film sequel is planned, there is still more to come.

“For people who are into it, I’ve got a contract, and I got a hold at my end,” Parsons said, “and that means I am definitely not done with Backrooms.”

That could mean a sequel to the film is likely, but it sounds like Parsons might also return to the Backrooms YouTube videos that enthralled so many viewers in the first place.

“I don’t want to leave YouTube behind. I immensely enjoy the work I’ve done there, and I feel creatively fulfilled by it in a way that’s proportional to what I’ve done with this film,” Parsons said.

“I personally think there’s merits, because there’s a lot of projects that I just could never do outside of YouTube, or outside of a more free-form internet multimedia container. So I wouldn’t limit myself just to one spot, but I do think it’s a way of saying that I’ve got a bit of a good thing going right now that I want to utilize with the energy and positivity around this film.”

Parsons, under the name Kane Pixels, began creating Backrooms YouTube videos in Blender in 2022, which racked up tens of millions of views. Further works explored the horrors of other liminal spaces, like a shopping mall found deep underground in The Oldest View and a fictitious adventure game in People Still Live Here.

“Without a doubt, Backrooms has always been planned to be more of a series that goes outside the confines of this film,” Parsons said. “If anything, I would say this is a bit of a foot in the door that would lead to more of a progression towards the true root of the narrative, which has been set up online for years.”