Unnamed Footage Festival Reveals Its Full 2025 Lineup
Get ready, found footage fans, because the 8th annual Unnamed Footage Festival is on the horizon! Held this year from March 25 to March 30, the UFF team is ready to shock, awe, and inspire you with screenings and special events celebrating all things in-world camera and its endless possibilities.
The festivities kick off on Tuesday, March 25th at the Alamo Drafthouse New Mission Theatre for a 20th-anniversary screening of Noroi: The Curse. The following two evenings, Wednesday, March 26, and Thursday, March 27, Unnamed Footage Festival moves to the Artists’ Television Access, also in San Francisco’s Mission District, for two very different mixer nights. Learn more about those events here.
Friday through Sunday are absolutely packed with theatrical premiers, retro screenings, and encore screenings as It Doesn’t Get Any Better Than This and its directors/stars return to the Bay Area to show their exclusively theatrical film. Festival attendees will also be the first to experience the film’s equally unobtainable sequel Bride of Hellmouth, exclusively on ViewMaster.
The Unnamed Footage Festival is also partnering with FoundTV and indie found footage distribution label Only Found Footage Fans. The label will be on site with a limited number of the first US release of SORGOI PRAKOV (aka Descent into Darkness My European Nightmare) and an array of rare in-world-camera physical releases for sale.
Now, check out the rest of the Unnamed Footage Festival’s killer 2025 lineup!
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 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.
Hunting Matthew Nichols (2024, Canada, dir. Markian Tarasiuk)
Two decades after her brother’s disappearance, documentarian Tara Nichols (Miranda MacDougall) sets out to find answers. When she uncovers a disturbing piece of evidence: a horrific tape that the police covered up, she learns that there’s more to his disappearance than she’s been told and that her brother could still be alive.
Dream Eater (2024, Canada, dir. Alex Lee Williams, Jay Drakulic, Mallory Drumm)
During a holiday at a remote cabin in the mountains, filmmaker Mallory Drumm decides to capture her boyfriend’s (Alex Lee Williams) strange parasomnia on camera. Despite their efforts, his episodes worsen, becoming violent and dangerous. As the couple seeks a cure, they begin to expect that something more sinister is at play and begin to wonder if Alex’s malady is supernatural in origin.
The Lost Episode (2024, Canada, dir. Nick Wernham)
The Lost Episode follows police officers Paul Massaro and Terrence Williams (Anthony Grant and Benjamin Sutherland) as they patrol the town of Franklin on Halloween night. As the night progresses, the officers respond to a series of increasingly disturbing calls and begin to suspect a diabolical conspiracy lurking in the heart of their small town.
Nightfall: A Paranormal Investigation (2024, Australia, dir. Myles McEwen, Ripley Stevens)
Two young paranormal detectives investigate a haunting. One wields a video camera and can record the spirits of the dead while the other brandishes headphones and a microphone that can capture their voices. Together they delve into a haunting that pushes their skills to the limit. This simple setup serves as a springboard for some of the best cinematography and sound design found footage horror has to offer.
The Rebrand (2024, Canada, dir. Kaye Adelaide)
Nicole, a pregnant videographer takes a gig helping a pair of lesbian lifestyle influencers who’ve seen their brand and their reputation destroyed after being canceled for an unknown transgression. As she films their lives, she finds that the pair have far more quirks in person than their online personas reveal.
McCurdy Point (2025, USA, dir. Jeremy Brothers, Nick Paonessa)
McCurdy Point follows five friends who travel to an old cabin in the woods to celebrate, but instead find themselves targeted by a malicious force that defies explanation. Starring an ensemble cast of improv comedians, instead of scoring laughs, they build intense tension and massive scares as the force picks them off one by one.
DOOBA DOOBA (2024, USA, dir. Ehrland Hollingsworth)
When aspiring singer Amna (Amna Vegha) is hired to babysit, she’s surprised to learn her ward is the 16-year-old Monroe (Betsy Sligh), a troubled shut-in who hasn’t left her home since watching her brother murdered. What ensues is a cat-and-mouse game with the tension of Creep and the absurdist sensibility of Too Many Cooks.
The Unsolved Love Hotel Murder Case Incident (2024, Japan, dir. Dave Jackson, Guy)
Dave Jackson and Guy, a pair of horror filmmakers and Australian expats living in Japan, decide to investigate their friend’s story of a murder and haunting at an abandoned love hotel. What starts off as a fun weekend trip becomes a nightmare when their friend vanishes and the love hotel turns out to actually be haunted.
Japandemonium (日本-悪魔) (2024, Japan, dir Sean Kurosawa / Kyosuke Koizumi, Nozomi Tomaki)
A double feature of Sean Kurosawa’s Girls Just Wanna Have Kill and Kyosuke Koizumi & Nozomi Tomaki’s Killmageddon, this midnight block is like seppuku for your senses. With minimal plot and maximal violence, Killmageddon is a blood-drenched fever dream. Girls Just Wanna Have Kill keeps up the insanity from its opening dedication to Cyndi Lauper to its splatter-pop idol heroine Momoko (Tenma Aida) and her gooey time-traveling hijinks.
What I Remember (2025, USA, dir. Alex Hera)
Based on Hera’s short film of the same title, What I Remember follows Ryan and Sam, a pair bound together by loneliness and by their deep desire to escape the bigotry and isolation of their rural hometown. Jumping between past and present, we watch Ryan and Sam’s relationship tenderly grow, all the while knowing that in the present Ryan has gone missing, may be dead, and that Sam is dead-set on finding the truth.
Distort (2025, Ireland, dir. Richard Waters)
A musician recording an album in the woods finds mysterious cassette tapes being left for him. On them, a woman researching an urban legend is being terrorized by a man and his vicious dog. A mix between Justin Benson and Aaron Moorhead’s Resolution and Turner Clay’s The Blackwell Ghost, Distort is a beautiful and welcomed return to the woods.
Baleful (2024, Canada, dir. Denman Hatch)
Eddie has a serious problem. He doesn’t know what’s real, he doesn’t know who he is, and he doesn’t know why he wakes up covered in blood. Baleful is a hybrid anthology film that brings the Unnamed Footage Festival 8 theme—“Video Never Lies”—to chilling life. As reality unravels for a small community, its members turn to their cameras for the truth… only to discover that some images can’t be unseen. From the creator of Canada’s #1 horror YouTube channel, Deformed Lunchbox, Baleful also marks the long-awaited return of Kenny vs Spenny’s Spencer Rice to the big screen.
RETRO SCREENINGS
Fat Tuesday (2018, USA, dir. Jorge Torres-Torres)
Cinema-in-public is a term we’ve come up with to refer to narrative films shot guerilla-style in public places. The actors know they’re making a movie, but the public is none the wiser. Examples are rare and include oddities like Randy Moore’s Disney World-filmed Escaped from Tomorrow and Jason Banker’s Toad Road.
UFF is proud to present its first Cinema-In-Public screening, Fat Tuesday. Filmed in New Orleans on-location during Mardi Gras, a group of friends is preyed upon by a mysterious killer (Hannah Gross). Shot and edited by the criminally overlooked Jorge Torres-Torres (Toad Road, Sisters of the Plague) Fat Tuesday transcends traditional slashers by adding an element of verisimilitude previously unknown to the subgenre.
Reality Killers (2005, Italy, dir. Alessandro Capone, Pablo Dammicco, Volfango De Biasi, Francesco Maria Dominedò)
Reality Killers is a horror film in which a man obsessed with violent ‘snuff’ videos, featuring people being abused, tortured, and killed, goes on to commit his own similar crimes. Banned in the UK and lost for 20 years, Reality Killers is a surprisingly cinematic 90s style In-World-Camera film, which will find its theatrical debut as our Saturday, midnight screening.
Individual tickets will go on sale via FilmFreeway on March 5th at 12 PM PT and badges are available right now!
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