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Unnamed Footage

The Unnamed Footage Fest announces its final wave of films in its 2024 lineup, and our found footage-loving jaws are on the floor.

In Memorium at Unnamed Footage Fest

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We previously brought you news about the exciting 7th edition of The Unnamed Footage Festival  — an in-person event, including retro screenings and several special events. As if we weren’t excited enough, the fest has now announced an impressive second wave of programming that just seriously upped the ante.

Alongside the full schedule and official festival art, Unnamed Footage has announced a partnership with genre studio Welcome Villain Films, and with their support, UFF7 has grown into the biggest and most diverse event in the festival’s history.

Following the pre-festival 10th anniversary screening of As Above So Below at the Alamo Drafthouse, Unnamed Footage has added another night at the Artist’s Television Access for a badgeholder-only sneak peek at a new version of The Outwaters with filmmaker Robbie Banfitch in person. An entirely new viewing experience, Outwaters: Detective Audio Version pairs the striking visuals with the observations of two investigators reviewing the footage.

Thursday, March 28th, is the official kick-off of the festival, the Recalibration Party, opening the event with Paul A. Brooks and Sierra Renfro’s Hunting For The Hag, an adventurous found-footage horror film about three women trekking into the woods of Illinois to capture footage of a legendary creature known as the Hawthorne Hag.

This will be followed by the third edition of the UFF Power Hour, DON’T STOP RECORDING 3: SENSORY OVERLOAD. 60 nonstop clips from television, social media, and in-world camera films contrasting maximalism with liminality, complete with complimentary beer and booze from the UFF sponsors.

It Doesn't Get Any Better Than This at Unnamed Footage Fest

Still from It Doesn’t Get Any Better Than This, playing UFF7 Friday evening

Friday, Saturday, and Sunday at the Balboa and 4 Star theaters are a nonstop gauntlet of films and events, including the previously announced world premieres of Horror In The High Desert 3: Firewatch and Looky-loo, Russian screenlife #Blue_Whale, yoga influencer horror Mind Body Spirit, and more titles that can be found in the festival’s first wave announcement.

Unnamed Footage is now adding to that list the world premiere of Tahoe Joe 2: The Nevada Bigfoot Conspiracy, the first person cat carrier POV film Nias, the labyrinthine Australian psychological horror Puzzle Box,  live TV broadcast gone wrong Haunted Ulster Live, Kansas Bowling’s 16mm vintage mondo film Cuddly Toys, grizzled New Jersey cop chaos magick investigation The Coldness, and more.

This year’s retro screenings celebrate the 15th anniversary of transgressive filmmaker Harmony Korine’s (Gummo, Kids, Springbreakers) shot-on-video deranged look at the dark side of Americana, Trash Humpers on 35mm, and UFF collaborates with Bleeding Skull to present the shot-on-security-cameras forgotten found footage horror film, In Memorium from 2005.

Short films include comedy troupe Simple Town & Andrew DeYoung’s AirBnB, Chinese artist Yangqi Deng’s conspiracy-driven Turtle?,  Andrew J. Paulsen’s Homebody, returning filmmaker Harry McDonough’s Red Leather Yellow Leather, Rafael Cherkaski’s (Sorgoi Prakov aka Descent Into Darkness) Whacked, horror writer and rocker Christopher La Vigna’s A Place To Be, and more.

Haunted Ulster at Unnamed Footage Fest

Still from Haunted Ulster

Special events will include an experimental block of Analog Horror titled “Analog Is The Future,” curated and hosted by Dread Central editor-in-chief Mary Beth McAndrews.

This will highlight some of the most radical examples of this emerging genre, including videos from the popular channel Local 58, followed by a Q&A with creator Kris Straub.

Lastly, the festival will be hosting a live performance for the first time ever with Selections From the MallWalk podcast, a live multimedia presentation of the investigative podcast covering a horrific tragedy that took place at Belmont, California’s Royal Galleria Mall in 2004.

Whether or not you have heard the podcast, you will not want to miss this mesmerizing and bizarre tale, complete with music and visuals.

Unnamed Footage Festival is partnering with Welcome Villain Films as the Main Event Sponsor for 2024. Welcome Villain Films — who recently released Malum, Hunt Her Kill Her, and Beaten to Death — is a genre studio with an innovative approach to development, production, marketing, and distribution. A destination for filmmakers with unique voices who seek a creative studio partner that embraces their visions and has the ability to deliver them to genre-hungry audiences in exciting new ways, Welcome Villain Films’ mission is to empower creators to deliver edgy and exciting films in the horror and genre space.

Individual tickets will go on sale via FilmFreeway on March 4th – badges are available right now!


Hunting for the Hag at Unnamed Footage Fest

Hunting for the Hag

HUNTING FOR THE HAG (2023, USA, dir. Paul A. Brooks)

OPENING NIGHT — Tara (Jasmine Williams), a young filmmaker, sets out with two friends, Beth (Alexa Maris) and Candy (Co-writer and producer Sierra Renfro), to film a documentary in the woods of central Illinois about a mysterious legend known as The Hawthorne Hag. Tara plans to capture The Hag on camera for the first time in known history —  but within this forest, things may not be as they seem. Hunting For The Hag manages to be a found footage thriller, a cryptid flick, a psychological horror film, and fun as hell all at the same time.

As bombastic as it is unsettling, there’s no better way to kick off a nonstop weekend of found footage horror than going Hunting for the Hag with Unnamed Footage Fest.  –  Talent in attendance for a Q&A

NIAS (2024, France, dir. Baptiste Rambaud)

US PREMIERE — Noémie is a professional cat sitter in France whose days are spent visiting with the cutest kitty clients while their humans are away. After the loss of a cat leaves her traumatized and paranoid, she can’t bring herself to say goodbye to a cat named Nias. Noémie catnaps Nias while his owners are out of town and finds herself in an intense chase through the city streets of Normandy.

Shot entirely from the perspective of a cat carrier, Nias cleverly explores the rarely seen POV of an inanimate object, a style utilized in films like Nightlight (2015) and UFF2 selection The Moose Head Over the Mantel (2017). When the perspective is a cat carrier, that eliminates the question of “why are they still filming?” Enjoy the scenery and get lost in the cat heist!

PUZZLE BOX (2023, Australia, dir. Jack Dignan)

Running from a violent incident in their past, sisters Kait and Olivia flee to a remote house in the woods where Kait can detox, Olivia can document the process, and maybe the two sisters can repair their strained relationship. Their trip turns into a nightmare when the house reveals itself to be an inescapable maze of ever-shifting rooms, staircases, and hallways. As they attempt to find a way out, they discover there are far worse things in this house to be afraid of.

Newcomer Jack Dignan’s direction and extremely clever editing take an otherwise unspectacular location and turn it into a labyrinthine hell, which is further elevated by Kaitlyn Boyé’s amazing performance, creating a piece of liminal horror that’s destined to be a found footage classic.

Tahoe Joe 2

TAHOE JOE 2: THE NEVADA BIGFOOT CONSPIRACY (2024, USA, dir. Dillon Brown, Michael Rock)

WORLD PREMIERE — If you’re not keeping an eye on HorrorDadz productions, you’re missing out on some of the most driven, passionate, and talented new players in the in-world camera space. Tahoe Joe 2: The Nevada Bigfoot Conspiracy follows the film that Dread Central called “One of 2022’s Best Bigfoot Movies.” This time, Michael Rock and Dillon Brown return to the Tahoe wilderness, trekking through snowy mountain trails to find a young woman who went missing while seeking the elusive Tahoe Joe, Lake Tahoe’s very own version of bigfoot.

Tahoe Joe 2 takes everything that made the first film (watch for free on Tubi) a success and adds new layers of action, intrigue, and a sprawling conspiracy that’s almost sure to be continued in Brown and Rock’s future Cryptid-verse of films.

IT DOESN’T GET ANY BETTER THAN THIS (2023, USA, dir. Rachel Kempf, Nick Toti)

When a married couple (filmmakers Rachel Kempf and Nick Toti, playing themselves) purchase a rundown duplex in rural Missouri to be the set of their next horror film, they are delighted by the layers of graffiti and debris. Nick’s production of a documentary about their project and the entertaining dynamic between himself, Rachel, and her longtime bestie Christian gets sidetracked when strangers begin standing completely still outside their new home, silently staring at the house.

An energetic mix of archival DIY horror, first-person faux documentary, and found footage, It Doesn’t Get Any Better Than This maxes out the potential of its deceptively straightforward setting. It’s paradoxically a slow burn and a joyous romp, a warning and a love letter, a memory and a mystery. Nick’s observation in the film, “The more you look, the more you see,” captures the heart of found footage horror, and dang, if that doesn’t say it all.

CUDDLY TOYS (2022, USA, dir. Kansas Bowling)

A recent graduate of Teen Life University, Professor Kansas Bowling presents a shocking exposé about the lives of teenage girls, presented as a series of fictional vignettes and real documentary interviews.

Shot on 16mm, Cuddly Toys offers a satirical take on teenage life, using a faux-academic presentation style reminiscent of vintage mondo films or 1960s educational PSAs. Filmmaker Kansas Bowling (Once Upon a Time in Hollywood, Verotika), appearing as “Professor Kansas Bowling,” blends real-life interviews with exaggerated recreations to highlight the challenges faced by teenage girls — and while the film’s content may be provocative, it serves a deeper purpose in critiquing societal issues such as sexual assault and misogyny within teenage subcultures.

Through its unique approach, Cuddly Toys prompts viewers to reflect on the authenticity of its portrayal and the complexities of young women’s experiences.

Project Eerie

PROJECT EERIE (2023, USA, dir. Ricky Umberger)

Jesse and Jacob Warner livestream their escalating teenage antics on Halloween night of the year 2020 as they disobey lockdown, destroy jack-o’ lanterns, and break into a government facility to steal a DVD. The contents of this disc contain everything from Bigfoot hunters to a lost astronaut — and Jesse & Jacob have been missing ever since. This is their final broadcast.

The newest found footage horror film from Ricky Umberger, who mastered choreographing in-world camera scares in his nightmare-inducing Fear Footage series, Project Eerie, marks his return to the anthology format. The Unnamed Footage Festival is proud to present the West Coast theatrical premiere of the director’s cut of Project Eerie for what might be its final public screening ever!

HAUNTED ULSTER LIVE (2023, Ireland, dir. Dominic O’Neill)

US THEATRICAL PREMIERE — On Halloween night 1998, TV veteran Gerry Burns teams up with popular children’s presenter Michelle Kelly to investigate poltergeist activity in a haunted house in Belfast. A seance causes the broadcast to descend into chaos, and the two presenters must face their greatest fears on live TV.

Haunted Ulster Live continues in the great tradition of WNUF Halloween Special (UFF1) and Ghostwatch’s live TV broadcast gone wrong aesthetic – but this time, we’re in Northern Ireland, and we promise you will not be able to predict the wild places this gripping story goes.

THE COLDNESS (2023, USA, dir. Gustavo Sampaio)

A retired detective from New Jersey (Paul Purducci) lands in Los Angeles. It’s no vacation for this grizzled dick: a woman’s bizarre death parallels the cold case that has obsessed him for a quarter century. Filming his investigation, the detective’s journey evolves from simple forensics into something darker, occult-ier, and more personal than could be anticipated.

Anchored by an instantly iconic lead performance by co-writer Paul Purducci, The Coldness is a chilling tale of one man’s search for all the answers. —  Star Paul Parducci and Director Gustavo Sampaio in attendance for a Q&A

Jeffrey’s Hell

JEFFREY’S HELL (2024, USA, dir. Aaron Irons)

Filmmaker Aaron Irons has been missing for almost a year now, and all that was left behind was his camera. His prior film, Chest (2022, UFF5 Virtual), explored the rich folklore, myths, and history of an area in the Appalachian region of Tennessee called “Jeffrey’s Hell” through the lens of a found footage horror narrative. The forest is a large region, spanning multiple states and containing over sixty thousand square miles of wilderness — plenty of space for someone to disappear.

Jeffrey’s Hell explores the way unrealized aspirations and memories of the past can haunt us via a dark descent into a mysterious cave where he sees the fabric of his reality begins to come apart at the seams. Filmed over the course of a year while solo caving and hiking, Irons plays himself, giving this story a claustrophobic personal edge that exposes both his fears and regrets. —  Aaron Irons in attendance for a Q&A


TRASH HUMPERS (2009, USA, dir Harmony Korine)

15TH ANNIVERSARY 35MM SCREENING – Late at night in the city and suburbs of Nashville, Tennessee, a gang of elderly ne’er-do-wells walk the streets behaving bizarrely and committing crimes. MAKE IT! MAKE IT! DON’T FAKE IT! What’s their goal? Where did they come from? Why are they doing these things? This is their footage.

Shot on VHS, edited on VCRs, and inspired by sights he saw as a kid growing up in Tennessee, transgressive artist Harmony Korine’s 2009’s depraved found footage film Trash Humpers is a look at the dark side of America and about exactly what it says on the package: humping trash. Celebrate the 15th anniversary of this sociopathic classic with a 35mm repertory screening of the film.

IN MEMORIUM (2005, USA, dir. Amanda Gusack)

Before Paranormal Activity popularized the use of static cameras in found footage, there was Amanda Gusack’s In Memorium, a terrifying exploration of grief and family inheritance. Diagnosed with terminal cancer, Dennis decides to capture the final months of his life via cameras mounted throughout a rental he moves into with his girlfriend, Lily. But the cameras begin to capture strange goings on around the house, which leads to the uncovering of a dark secret.

In Memorium has been almost lost to time, a forgotten yet crucial piece of found footage directed by a woman (a rarity even today). Encapsulating the creativity of filmmaking