INCLUDING WORLD PREMIERES OF THAI FOLK HORROR SAMING, IRISH FOLK HORROR DISTORT 2: DEAD AMONG THE TREES, MIDWEST NOIR ZEBRA HOOVES, AND BAY AREA SHOT THIS HOUSE IS TOTALLY HAUNTED
The full schedule, official poster, and event trailer for hotly anticipated 9th Annual Unnamed Footage Festival are now live, with its biggest lineup of found footage features and shorts ever.
With just under two weeks until opening night, we’re finally ready to unveil the entirety of this year’s Unnamed Footage Festival, featuring a massive line up of 26 feature films, 20 shorts, and a heap of special events, including the first ever FOUND FOOTAGE FLEA MARKET and a SECRET SCREENING of something so bizarre and unexpected it left our programmers genuinely frightened for their safety.
We’ll kick off the festivities on TUESDAY, MARCH 24th, with our annual Terror Tuesday takeover at Alamo Drafthouse New Mission, where we’ll present Ti West’s Jonestown-inspired opus, THE SACRAMENT.
Next, on WEDNESDAY, MARCH 25th, we’re moving to the Artists’ Television Access for our annual Recalibration Party, where we’ve got a special double feature lined up. First off, we’ve been given the opportunity to show an early preview of Patricio Valladares’s INVOKING SCREAM, which we’ll be pairing with Brandon Christensen’s recent Shudder hit, BODYCAM. It might be your last chance to catch it in a theater, so don’t miss out. Just in case those aren’t enough, we’ll be wrapping up the night with our annual Found Footage Power Hour, featuring 60 clips in 60 minutes to get you in the mood for our mayhem.
On THURSDAY, MARCH 26th, UFF moves into the Balboa Theater for its first full day of features. Among the stacked lineup of features, we’ll be showing Jorrden Daley SXSW Sydney hit WELCOME BACK TO MY CHANNEL. Everyone who’s ever had a bad roommate is sure to enjoy our next film, Jesse Swenson’s ALAN AT NIGHT. Finally, we’ll be ending Thursday with the world premiere of the most disgusting, depraved, and downright vile film we’ve ever shown. We’re talking about none other than Stephen Biro and Eric Fox’s gorefest AMERICAN GUINEA PIG: SLAUGHTER OF THE SWINE. This one’s not for everyone, but how could we not show the latest entry in one of the most infamous found footage series of all time.
That’s not all that’s happening on Thursday though! During and between events, we’ll be kicking off our FOUND FOOTAGE FLEA MARKET, with an intimate selection of vendors offering a variety of films and collectibles for casual fans and collectors alike. Vendors will revolve throughout the weekend, with a variety of offerings so be sure to stick around.
FRIDAY, MARCH 27th features another full day of found footage, including DISTORT 2: THE DEAD AMONG THE TREES, Richard Waters’ followup to his Irish folklore inspired analog fright. Later that night, we’ll be presenting the West Coast premiere of Karsen Schovajsa and James Bessey’s Hi8 marvel, THE KILLING CELL, and to close out the evening, we’ll be showing horror icon Gary Sherman’s lost venture into found footage, 39.
SATURDAY, MARCH 28th continues to bring the hits with Brandon Walker’s WILDERNESS TAPES, featuring found footage archivist and friend of the fest, Thomas Burke. Next, we’ll lighten things up with the world premiere of Sean Nichols Lynch’s THIS HOUSE IS TOTALLY HAUNTED. The penultimate film of the night is David Dawson’s newest piece of midwest noir, ZEBRA HOOVES. Ending Saturday is a very special SECRET SCREENING of XXXXXXXXX the XXXXXXXXXX film that XXXXXXXXX the XXXXXXXX.
Closing out the festival on SUNDAY, MARCH 29th, we’ve got a stacked lineup including Rungroj Rojanachotikul’s Thai folk horror SAMING, and the world premiere of Evan Jordan’s heartfelt feature debut, FLORIDA, MAN.
Check out the festival’s Official Trailer on Youtube!
The complete lineup is available below, and badges and single screening tickets are on sale now via FilmFreeway.
FINAL WAVE OF UFF FILM SELECTIONS
[SECRET SCREENING]
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American Guinea Pig: Slaughter of the Swine (2025, dir. Stephen Biro, Eric Fox)
At UFF, we don’t shy away from the grotesque, with past festivals featuring films that are shamelessly disgusting, depraved, and even downright pornographic (i.e. Koji Shiraishi’s Safe Word,) but nothing—we mean NOTHING—compares to American Guinea Pig: Slaughter of the Swine.
The fourth film in the American reboot of the infamous Japanese series (the first of which was famously reported to the FBI by Charlie Sheen, believing it was a genuine snuff film), Slaughter of the Swine is framed as FBI footage of a depraved religious ritual. Featuring 60 minutes of some of the most intense gore you’ve ever seen, the film is a masterclass in gore effects, with depictions of violence, torture, and abuse that makes The Human Centipede look tame.
This film will offend, sicken, and repulse you. You will be a worse person for having watched it.
We hope you enjoy it, sicko.
Saming (2026, dir. Rungroj Rojanachotikul) WORLD PREMIERE
While searching for his missing sister in Northern Thailand, a fitness vlogger is introduced to the legend of Saming, a shapeshifting tiger that consumes and replaces its victims. Ignoring warnings from the locals, he ventures into the jungle, believing his sister vanished there. As his trek leads him deeper into the brush, his companions disappear one-by-one, and he finds himself stalked by a mysterious spirit in the form of his sister.
Rooted in Thai oral folklore, Rungroj Rojanachotikul’s film is a deeply personal look at grief and spirituality. Excellently shot and edited, Saming takes brilliant advantage of the beautiful locales of Northern Thailand, making it a unique piece of found footage folk horror.
39 (2009, dir. Gary Sherman)
In 2009, director Gary Sherman – acclaimed for such classics as DEATH LINE, DEAD & BURIED and VICE SQUAD – came out of retirement to make the most extreme independent film of his career. But this was no ordinary graphic thriller. Sherman took a startling faux-documentary approach to the story of fictitious serial killer Carroll McKane (chillingly portrayed by Martin Cummins of RIVERDALE and WHEN CALLS THE HEART) by placing multiple video cameras in the basement room where the slaughter of 36 past victims had been recorded. When McKane kidnaps a noted forensic psychiatrist with the intention of forcing him to write his biography, it will unlock a nightmare of emotional torment, graphic carnage and three final victims.
Then comes the real shocker: After a handful of initial screenings, the film proved so disturbing to audiences that plans for its distribution were hastily scrapped and Sherman voluntarily removed his movie from circulation. Unseen for nearly 15 years, 39 now returns to select screens courtesy of Severin Films.
Florida, Man (2026, dir. Evan Jordan) WORLD PREMIERE
Evan, a filmmaker from Mississippi, catches feelings for a gal he meets at a found footage film festival in San Francisco. They decide to make a movie together, exploring the haunted landscapes of Evan’s family history in the swamplands of Florida. Old wounds are reopened and generational trauma reveals itself to be perhaps the scariest part of this attempted mockumentary that ends up being a little too real. The line between fiction and reality has never been slipperier, the southern accents have never been thicker, and the real feelings have never been more complicated than what you’ll see in FLORIDA, MAN.
Welcome Back to My Channel (2024, dir. Jorrden Daley)
When influencer Suki Ren brings her American boyfriend, Leo, for a romantic camping trip in her home-country of Australia, things take a sinister twist; first when Leo’s douchebag friend Cass makes an appearance, pranking Suki with a fake corpse hanging from a tree. Things take an even worse turn when the trio is beset by a gang of backwoods cannibals who want to turn the three into their next meal.
On its face, Welcome Back to My Channel might sound like an outback take on Wrong Turn, it instead paints a bleak portrait of the modern clout-chasing strive for fame.
Wilderness Tapes (2025, dir. Brandon Walker)
Nearly a million smartphones and cameras are lost in the wilderness each year. For the first time in history, recovered footage from such devices is presented in a chilling anthology series.
Wilderness Tapes: Volume One chronicles a journey into an abandoned gold mine that goes wrong, plunging “Prospector Pete” into the depths of supernatural madness.
Alan At Night (2025, dir. Jesse Swenson)
When Jay, an internet prankster, takes in a new roommate, Alan, he secretly documents the man’s odd behavior. As his behavior grows increasingly more bizarre, Jay pushes boundaries and limits to get more content. As things come to a head, it becomes clear that there’s something very, very wrong with Alan.
Exploring the toxicity of influencer culture, Alan at Night is an entertaining romp that blends cringe comedy with genuine thrills. You’ll never look at mayonnaise the same way again.
Zebra Hooves (2025, dir. David Dawson) WORLD PREMIERE
A hypochondriac heads to the Wisconsin Dells to get out of his head and relax. He’s instructed by his doctor to record video diaries of his anxiety symptoms, but soon finds something sinister in the Midwestern air—his own demons and a bad time.
David Dawson (Flesh Games, Leech) returns with his magnum opus, using his unique “incel noir” style to tell a mature story about male loneliness, mental health, and the isolation of Middle America.
Bodycam (2024, dir. Brandon Christensen)
When two police officers show up to investigate a domestic dispute, there is an accidental shooting. Not wanting to be crucified by the public, the officers attempt to cover it up – only to uncover that the cameras aren’t the only things watching them.
BODYCAM places the filmmaking tools directly in the hands of its performers, abandoning traditional coverage in favor of a raw, immersive approach. The result is a tense, constantly shifting perspective that feels like it’s unfolding in real time. What began as a quietly produced, under-the-radar shoot is now a SHUDDER original. Join us for what might be the last chance to catch BODYCAM in theatres.
Invoking Scream (2025, dir. Patricio Valladares) EXCLUSIVE PREVIEW
After uncovering a buried box containing a VHS tape and a mysterious book of witchcraft at the gravesite of Invoking Yell’s lead singer, Andrea Fernandez, a trio of metalheads unwittingly unleash a dark force. What begins as a documentary about Andrea’s disappearance and the 1998 murders of her ill-fated bandmates quickly spirals into a waking nightmare-where the past doesn’t just haunt those connected to it… it demands a sacrifice.
This year at UFF, we’ve been given the rare opportunity to show an early cut of this Chilean found footage sequel.
This House Is Totally Haunted (2026, dir. Sean Nichols Lynch) WORLD PREMIERE
When a team of ghost hunters travel to a backwoods cabin, they find themselves facing off with a cult survivor, his strange manservant, and a haunting that may or may not be real. Featuring twists, turns, and some excellent jumpscares, This House is Totally Haunted will keep you locked in from beginning to end.
From the award winning filmmaker and UFF24Hr alum (The Ceremony Is About To Begin) Sean Nichols Lynch is back with his latest Found Footage film, This House Is Totally Haunted, and the title really says it all. Filled with Bay Area local talent that convincingly played their characters, this traditional found footage feature is set up with authentic jump scares, enjoyable comedic moments, and surprises nobody saw coming.
Distort 2: The Dead Among The Trees (2026, dir. Richard Waters) WORLD PREMIERE
Not too long ago, a musician had a supernatural experience involving ghostly dogs and time-bending cassette tapes left for him in an Irish forest. Now, a documentary filmmaker brings the man back to the same forest to see just how real these experiences were, and to possibly save the woman who has been trapped there for 30 years.
Picking up right where the first film left off, Distort 2 builds upon the lore of the weeping man, the haunted tract of Irish forest, and the dark, hungry forces within. The film uses its incredible sound design to craft a haunting tale of folk horror with fascinating use of diegetic audio to make something truly unique.
Shorts
1-DAY ADULT (2025, dir. Elias ZX)
This is a film about a theme park in Singapore.
13_OCT_1985_ARCHIVE (2023, dir. Nicolas Dozol)
Viewing of a recovered unclassified archive dated October 13, 1985.
A Good Day to Die (2026, dir. Brett Stillo)
A government produced film outlining the steps to be taken in the event of cosmic catastrophe.
ASMR (2025, dir. Jeremy Shipp)
A grieving widower disputes a sound analyst’s supernatural theory on what might have happened to his missing wife in this fictionalized short documentary.
Atavic (2024, dir. Albert Blay)
Cris and Kitus go in search of their friends in an isolated area of the coast, where they were filming a university short film project.
Dale’s Killer Car Deals (2024, dir. Drew Highlands)
A horror-comedy that draws from the absurdity of late-night ’90s TV commercials while unraveling a twisted tale involving a deranged serial killer.
Early Came the Stories (2025, dir. Jaume Carrió)
Recent natural disasters have had an emotional impact on filmmaker Jaume Carrió, who reflects on loss in this essay that analyzes society’s way of capturing memories.
Exhibit B (2025, dir. David Gregory)
For their fourth anniversary, popular vloggers Rob and Carla set out on a romantic trip to a remote wilderness. Although cracks begin to show in their relationship they aim to capture every moment for their devoted followers. But what begins as a carefree escape soon spirals into something far more sinister.
Followers (2024, dir. Kevin Rahardjo)
In her quest for online fame, a female influencer, pursued by a real-life stalker, turns the tables by documenting her evasion on her vlog, which unexpectedly goes viral.
French Lessons (2025, dir. Anna Maguire, Kyle Greenberg)
Bienvenue en…. Los Angeles! Film executive Kyle and filmmaker Arran rendez-vous for a tête à tête in this crème de la crème of Cinéma Verité.
I TRIED A RITUAL (2018) (2026, dir. Alexis Briscuso) WORLD PREMIERE
One unassuming day in 2018, Lex finds an incantation and a set of instructions for a ritual in a book in the library. She sees no harm in giving it a try.
It’s Watching (2025, dir. Michael Davis)
It’s 3am and I can’t sleep. Some kind of sleep demon has attached itself to me. I’ve found a 3am ritual that will prove it is there, watching. Always watching.
MIMICS (2025, dir. Shawna Edward)
Two influencer sisters move to the woods to get away from it all. But what finds them is a following like no other.
Rebrand (2025, dir. Edoardo Ranaboldo)
A group of camping YouTubers head to the woods to make their final video. Unbeknownst to them, four masked men follow behind, planning to make a video of their own.
Rot Log (2026, dir. Travis Nicholas Zariwny)
Travis Zariwny plays a man who isolates himself inside a shared living space after noticing subtle signs of environmental decay — softening wood, spreading moisture, structural instability. Determined to approach the anomaly scientifically, he begins recording daily “rot logs,” documenting what he believes is a creeping biological intrusion.
Soaked in Tears (2025, dir. Cooper Neidecker)
YouTuber Cooper investigates the abandoned cabin where cannibal serial killer Adam Malone died in 1968. Armed with night vision cameras and a spirit box, he begins what seems like another routine ghost hunt, until the equipment captures something impossible.
Special Delivery (2026, dir. Will Canalizo) WORLD PREMIERE
Disgruntled delivery drivers take their frustrations out on a delivery robot.
The Auge (2024, dir. Rudolf “Ronny” Augenheimer)
Camera specialist Ronny J. Augenheimer presents his latest invention: A camera helmet that can turn even the most daring POV shots into reality.
The Dark Watchers (2026, dir. Elias Noel Almeda)
A documentary follows two park rangers as they investigate an abandoned vehicle deep in the remote forest. Their search leads to unsettling objects and a strange young man with no memory of who he is or how he got there. As day turns into night the rangers find themselves ensnared in a growing analog nightmare—one that is controlled by the all seeing Dark Watchers.
