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A content creator has been making waves online after posting photos of Kompleks Tun Abdul Razak (Komtar) in Penang that capture the eerie atmosphere of the now-popular horror movie, Backrooms
Rayn Amrillah shared the photos on Instagram on Sunday, 21 June, perfectly capturing the vibes of a 'liminal space'.
The term is used to describe a physical or psychological 'in-between' state, often referring to empty or abandoned places that feel eerie, forlorn, uncanny, and surreal.
"The real-life 'Backrooms' is hidden in Malaysia," Rayn titled the carousel post.
The photos show the upper floors of the building completely empty, illuminated by yellow fluorescent lighting and filled with still air.
The eerie charm of the images comes from the tiled walls and railings, along with a floor covered in brown tiles.
The photos showcase the Komtar's 1970s architectural design, with its modernist touch woven into every crevice.
Komtar on Jalan Penang, George Town.
Image via Bernama via Astro AwaniIn just three days, the post garnered over 105,000 likes
Hundreds of netizens expressed their awe at the photos, praising Rayn for recreating the eerie atmosphere of the commercially successful A24 film.
"I also really enjoy walking through Komtar. You've managed to capture its charm, something I'm afraid many overlook," wrote one Instagram user.
"Omg, even though I live in Penang, I didn't notice this place looks like Backrooms," said a netizen, while another added, "As a Penangnite, this place holds a deep place in a lot of our hearts."
Speaking to SAYS, Jakarta-born Rayn said he is currently working in a multinational company in Penang, a place he has since fallen in love with for its incredible energy
He said he spends almost all of his free time exploring the state, attributing its charm to hidden corners that are often overlooked but hold deep, nostalgic memories for locals.
As a vintage-focused content creator, he said he has deep passion for history and the rich aesthetics of bygone eras.
"I've always been captivated by the idea of a time when communities felt more deeply connected and the world was filled with vibrant colours and deliberate design.
"Through my work, I want to remind people today of the incredible heart and craftsmanship the generations before us poured into everything they built. Ultimately, I hope to inspire my audience, spark their curiosity, and evoke a beautiful sense of nostalgia," he said when contacted.
When asked what inspired him to photograph Komtar, he said watching Backrooms reminded him of the building.
The movie is based on an online lore started by director Kane Parsons.
"I've always had a fascination with what we call 'liminal spaces'. Every time I walk through certain older, empty sections of Komtar, that exact feeling hits me.
"Komtar is actually a regular spot for me. I love the vibes there, and I'm often around to pick up groceries or restock on film photography supplies.
"During a recent visit, I found myself on one of the quieter, less-frequented floors, and the unique architecture instantly triggered that 'liminal space' and Backrooms aesthetic.
"After watching the movie immediately, it inspired me to go out and capture that hauntingly beautiful atmosphere with my camera," he said.
Rayn added that Komtar is actually lively on the lower floors, with visitors heading to government offices, the public library, mobile and electronics shops, mini-grocers, hair salons, bundle clothing stores, and fast-food restaurants
"However, once you venture up to the third and fourth floors, the retail spaces become much less occupied. It creates this stark, fascinating contrast between a functional community hub downstairs and a quiet, surreal like time capsule," he described.
Rayn recalled Dr Soon-Tzu Speechley from the University of Melbourne describing the building as having a modernist design, though he acknowledged that some have described its architecture as brutalist.
"It was designed as a 'city within a city', so the massive concrete look is basically just the result of trying to fit everything from a bus terminal, government offices, and shops into one giant hub.
"The whole point was to move away from Penang's colonial past and build something that felt uniquely Malaysian and futuristic for the time.
"As for the interior, those small wall tiles, brown floors, and fluorescent grid lighting are a total '80s throwback. It's a very specific urban style from that era. You actually see the similar aesthetics in older buildings in Japan because the podium levels have remained largely unchanged since their completion, giving it that nostalgic liminal-space atmosphere," he shared.
Rayn expressed hope that the state government could revitalise Komtar into a vibrant hub for both locals and tourists, making it more appealing to the younger generation while preserving its nostalgic charm.
Drawing examples from Hin Bus Depot in George Town and RexKL in Kuala Lumpur, he believes such revitalisation projects can blend heritage with modernity and give these spaces a second life.
