知名遊戲製作人小島秀夫近日在海外社交媒體發文，對21歲導演凱恩·帕森斯的處女作《後室》給予高度評價。他直言被影片「深深震撼」，認為該片構建了一個懷舊與新奇的「藝術」世界，讓人聯想起紅白機時代和早期RPG遊戲的獨特氛圍。
The Backrooms A world where nostalgia and novelty attack you in the form of "art." I'm blown away. It reminds me of pseudo-3D games from the 2D era, back in the dawn of RPGs and the Family Computer (NES), before polygons and textures existed. Simulated 3D spaces built from looping, repetitive visuals: digital labyrinths unconstrained by the rules of architecture. I used to draw maps on graph paper just to keep track of where I was. That sense of confinement. That feeling of anxiety. Both are revived here in live action. The art direction is clever, incorporating elements of art, architecture, and psychology. This is a 21st-century liminal-space version of "CUBE," a work of surrealism and cubism in which video games of the 1980s and the modern world connect across dimensions.
小島秀夫特別指出，影片中由循環重複視覺元素構建的模擬3D空間，如同不受建築規則約束的數字迷宮，讓他回憶起早年用坐標紙手繪地圖的遊戲經歷，而那種幽閉感與焦慮感在真人影像中被精準還原。他稱讚《後室》的美術指導巧妙融合藝術、建築與心理學，將其比作「21世紀閾限空間版的《異次元殺陣》」，是超現實與立體主義風格的跨時代之作。
影評發布後引發粉絲熱議，不少人調侃小島與導演應有共同語言，甚至玩笑說應把帕森斯「掃描進遊戲」，呼應小島慣用真人演員建模的習慣。粉絲們的互動既充滿幽默，也透露出對雙方創作理念的共鳴。
