As Above, So Below
A descent into the Paris catacombs that becomes a descent into hell, shot for real under the city.
1980 onward · 25 films
The camera is a character and it will be dropped. Cheap, exhausted, occasionally perfect.
Found footage presents the film as recovered material. It is the cheapest format in horror, which is why there is so much of it and why most of it is bad.
Somebody has to keep holding the camera when a reasonable person would run. Every film in the format either solves this or ignores it, and the good ones solve it. The other constraint is that the ending is fixed in advance: if this is recovered footage, the people who shot it are not around to hand it in.
Cannibal Holocaust (1980) is the first fully worked example: a rescue party recovers a missing crew's film, and a broadcaster decides whether to air it. The framing is more rigorous than most of what followed.
The Blair Witch Project (1999) cost about 60,000 dollars and grossed nearly 250 million. Its marketing campaign, one of the first built entirely on the web, presented the actors as missing persons, and a real number of people believed it. Nothing is shown at any point. The final shot is a man facing a corner, which works because of a piece of folklore established forty minutes earlier.
Lake Mungo (2008) is an Australian mock documentary about a drowned girl and it is the most devastating film in this category. It is barely a horror film for an hour. Then there is a shot on a mobile phone that people do not forget.
REC (2007) is the opposite approach: a Barcelona apartment block, a news crew, and eighty minutes of escalation with no let-up.
Paranormal Activity (2007) made 193 million dollars on a 15,000 dollar budget and triggered a decade of imitators. The format now signals cheapness before the film has started, which is unfair to the twenty or so good ones.
Open a chatbot with a question about this already typed out. Useful for a second opinion, a plot detail, or working out which cut you are holding.
A descent into the Paris catacombs that becomes a descent into hell, shot for real under the city.
A monster attacks New York, filmed on a camcorder from street level, and the marketing invented a genre of mystery.
Two actors, a cabin and a camera. Mark Duplass is the most unsettling thing in modern horror.
A disgraced livestreamer broadcasts himself alone in a haunted house for the clout, and gets exactly what he deserves.
A web-streaming crew live-broadcast from a real abandoned Korean hospital for the views.
A team building a Halloween haunted attraction in a real abandoned hotel, and the footage is all that is left.
Shot over lockdown on Zoom in twelve weeks, runs 56 minutes, and is better than it has any right to be.
A Taiwanese found-footage film built around a curse the film itself tries to pass to you.
A 1977 Halloween talk show broadcast, live, going wrong. David Dastmalchian finally gets a lead.
A Belgian film crew follow a serial killer and gradually start holding the equipment for him.
A documentary film-maker investigates a demon called Kagutaba and does not come back.
Sit through the rough first 37 minutes. That instruction is the whole review and it is worth obeying.
The sequel picks up minutes after the first, sends a SWAT team into the sealed building, and reframes the whole outbreak.
A photographer starts finding a figure in his negatives. The reveal about the neck pain is the best in Asian horror.
The super-8 reels are the film. Everything between them is a man in an office not turning the lights on.
Ninety minutes of ceilings and corners at 4am. Either the scariest thing you have seen or nothing at all.
Barry Levinson made a found-footage eco-horror about a Chesapeake town and parasitic isopods.
Thai-Korean, a documentary crew following a shaman, and the last twenty minutes are relentless.
Norwegian students follow a poacher who turns out to hunt state-secret trolls. Deadpan and enormous.
The funniest vampire film ever made, and the flatmate politics are observed perfectly.