2026 seems to be the year of horror films where our protagonists are trapped in claustrophobic spaces. We had Markiplier emerge onto the film scene with Iron Lung, we’re about to have Kane Parsons capitalise on his Backrooms success with a full feature film, and here, from Japan, we have Exit 8. Like Iron Lung, this is an adaptation of a video game, though Exit 8’s popularity has probably eclipsed that of the game that inspired Markiplier – it’s only been out a few years and yet it has inspired a spawn of games exploring liminal spaces and, of course, its own feature film.
What is definitely impressive about Exit 8 is that its video game origins would not have been easy to guess had I not known of its origins as one. Most times when video games are adapted, the story can feel like it’s unnecessarily replicating the ‘level’ structure of a game, no matter how good the adaptation is. Perhaps I didn’t have this feeling with Exit 8 since I haven’t played the game, but the director, Genki Kawamura, manages to disguise its origins through its disorienting atmosphere and non-linear structure.
Despite the focus on our main character (known as the Lost Man, played by Kuzanari Ninomiya), my favourite stretch of Exit 8 deviates from following him to telling the story of Yamato Kochi’s Walking Man. It only lasts from five to ten minutes, but the world manages to open up massively despite the extremely limited and repetitive setting, and I felt the fear more with him than I did with the film’s lead. Not that Ninomiya is bad by any means, but the eerie mystery of the Walking Man is set up really effectively, and maybe I just was really surprised that it actually paid off the way it did.
It was really good to see the film prioritising heartfelt character drama as well as the building upon the liminal gimmick, as the two go hand in hand really well.
CLICK THE POSTER AT THE BOTTOM TO SEE WHERE EXIT 8 IS PLAYING NEAR YOU!
There isn’t much worldbuilding in Exit 8 per se, rather the worldbuilding is done through exploring the characters that are trapped within it. The instructions about finding the exit are simple enough, and the film does well to follow the rules it set down, but in a way they’re almost too simple. The film’s pacing can sag in places because there isn’t enough to keep us on our toes, and it also doesn’t feel consistently scary enough. The horror here is mostly psychological but, barring a few understandable breakdowns from our protagonist, I wasn’t really sold on the fear. Ninomiya’s acting ranges from exasperated terror to befuddled confusion, and only one of those modes works to create effective tension.
Having said that, the Lost Man is a well-rounded character, and I loved the opening scenes where we’re introduced to him before he becomes trapped in this neverending exit maze. The film begins with him looking morose while on a subway train, not intervening when a male passenger begins angrily snapping at a woman for not being able to control her baby’s cries. It’s not the most flashy or indeed flattering introduction to his character, and seeing him ignore an urgent call from a woman we assume to be his partner doesn’t endear us to him much either.
But of course, that’s the point. The events of Exit 8 take the Lost Man on a moral and emotional journey, and seeing the way in which the experience toys with him and changes him is really interesting to watch. Particularly around the second half when he becomes acquainted with a young boy wandering the corridors, and scenes with this boy are used to parallel certain things going on in this man’s life. It was really good to see the film prioritising heartfelt character drama as well as the building upon the liminal gimmick, as the two go hand in hand really well. This also helped in making the conclusion thoroughly satisfying too. It’s a little bit abrupt, but the final scene itself was a well-earned end coda, and I came away satisfied from Exit 8 having experienced a character’s full journey.
Exit 8 could have done with a more robust feeling of horror throughout, and a slightly tighter script that was a little more eager to make the most out of the setting. However, it’s the underlying emotional beats with this that are worth sticking around for, and I can absolutely see this film being a crossover hit in cinemas. So even if this doesn’t sound like your thing, I’d recommend checking it out to see what you get out of it.
EXIT 8 IS PLAYING IN SELECTED CINEMAS NATIONWIDE
