The final wave of films for the Unnamed Footage Festival 7 adds a special version of the Outwaters, and the full schedule is revealed.
The festival celebrates all things found footage, and will be showing a selection of fresh films in the sub-genre alongside retrospective screenings of iconic films within it.
Last year’s divisive The Outwaters is at the festival in a new form. Outwaters: Detective Audio Version pairs the striking visuals with the observations of two investigators reviewing the footage.
There’s also a 15th-anniversary screening of Harmony Korine’s hypnotically surreal Trash Humpers on 35mm.
The in-person festival will kick off on March 26, 2024 with a 10th-anniversary screening of As Above, So Below at the Alamo New Mission. It will be capped off with the world premiere of Horror in the High Desert 3 on March 31, 2024.
Tickets can be bought for the festival here.
The final wave of films announced for the festival are listed below.
Unnamed Footage Festival 7 Final Wave
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 UFF. – 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: 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 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, Nick Toti as 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)
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 (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 (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 begin 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
RETRO SCREENINGS
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 americana 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 in the early 2000s, and the early iterations of what would become common found footage techniques, Gusack deserves recognition for her work within the genre space and we’re excited to acknowledge that with this screening. In Memorium is a prescient exploration of generational trauma in the horror genre and an essential Analog Horror artifact — now newly preserved by Bleeding Skull.
SPECIAL EVENTS
OUTWATERS: DETECTIVE AUDIO VERSION (2024, dir. Robbie Banfitch)
BADGE HOLDER ONLY SPECIAL EVENT! A sneak peek at a brand-new version of The Outwaters! — Often in found footage horror, the images we view are presented as evidence in a case, but the greater narrative stops there. UFF is bringing Banfitch’s cosmic horror masterpiece back to the festival for a badge holder only sneak peek of a new iteration of The Outwaters that transforms it into an entirely different viewing experience. Now the visuals are paired with the observations of two investigators, Detective Stacey and Detective Nolan, reviewing the footage, trying to uncover what really happened and how the existence of this footage is even possible. — Robbie Banfitch in attendance for a Q&A
DREAD CENTRAL PRESENTS: “ANALOG IS THE WAY OF THE FUTURE”
Join us for an introduction to the world of analog horror, a format born in the depths of YouTube that also mimics the VHS aesthetics of the 80s and 90s. This isn’t your mom’s found footage, this is your little Gen Z cousin’s found footage. While both exclusively digital and mimetically vintage, analog horror can be deeply unsettling, crafting an uncanny and grainy vision of reality narrated by mechanical voices and broadcast alarms. Perhaps you’ve already had a taste of analog horror, discovering series like “The Mandela Catalogue” chopped up on TikTok or Instagram. Also playfully called PowerPoint horror, analog horror is the way of the future for in-world camera media, and we’re excited to take you through the wild and glitchy with a shorts block including titles like “Mystery Flesh Pit National Park“, “The Williams Tapes“, “Vita Carnis“, and several of the works from popular analog horror channel Local 58.
— Local 58 creator Kris Straub will be in attendance for a Q&A following the block, moderated by Dread Central’s editor-in-chief Mary Beth McAndrews.
SELECTIONS FROM “MALLWALK”
On November 11th 2004, 14-year-old Conrad Cliff jackhammered into the water main at The Royal Galleria near Belmont, California. Twenty-three people drowned. Three people were electrocuted in the arcade. Two people were fatally bitten by a hammerhead shark that escaped from the mall’s aquarium. And the teenager responsible was never found. Blair Van Auken was with Contad at the mall that day but refused to speak about the incident for 18 years. Until now.
MallWalk is an investigative journalism podcast that can be heard on all major podcast platforms. UFF is proud to present a live, multimedia performance of selections from MallWalk. Hear parts of the story told by Blair Van Auken himself, along with other readers and performers, set to music, visuals, and have your questions about this incident answered in person. This one-time only experience is not to be missed.
