Found Footage Horror Movies You've Never Seen

Butterfly Kisses (Directed by Erik Kristopher Myers, 2018) 

A common misconception about 'The Blair Witch Project' (1999) is that it created the found footage movement, however, history easily eradicates that notion, with the likes of 'The Connection' (1961), 'Cannibal Holocaust' (1980) and Mondo cinema all taking that title. However, what has remained undeniably true is how co-director of The Blair Witch Project, Eduardo Sánchez, has continued his passion and dedication for the subgenre, often being a staunch advocate and key investor for indie found footage horror, including the first entry on this list, 'Butterfly Kisses'. This incredibly tense and world-building film follows student filmmakers who set out on a mission to capture a local urban legend. In Maryland, rumour has it that if someone can stare down the infamous Ilchester Tunnel for a solid hour without blinking when the clock strikes midnight, then the local bogeyman nicknamed 'Peeping Tom' will appear. Determined to crack cinematic and local history, budding filmmakers, Sophia (Rachel Armiger) and Feldman (Reed DeLisle), use a camera lens as an 'unblinking eye' to complete the ritual. What follows is a tortuous discovery. Years later, when cleaning out his in-laws' basement, fellow filmmaker Gavin York (Seth Adam Kallick) discovers Sophia and Feldman's tapes detailing their encounter with the curse, leading to devastating consequences for all involved. Butterfly Kisses has all the trademarks of an excellent found footage film; it is spooky and scary, both haunting and intriguing, but where it excels is in its ability to conjure up such a rich and intense mythological background that never once feels shallow or rushed, which only makes it even more surprising that it remains hidden gem rather than a bona-fide fan favourite. 

Long Pigs (Directed by Chris Power and Nathan Hynes, 2007) 

As unusual as the term 'long pig' may seem, it actually derives from cannibalistic lore as a phrase used to describe human flesh. Inspired by this abhorrent but morbidly curious topic, alongside the countless quantities of true stories of cannibals killing and devouring their victims, filmmakers Chris Powers and Nathan Hynes set out to create 'Long Pigs', a darkly humours mockumentary. The subject of this faux documentary centres around Anthony McAlister (Anthony Alviano), a cannibal and killer whose penchant for viscera and flesh has attracted two young filmmakers hoping to capture the strange and uncanny world of someone who willingly commits such heinous acts. Just like 'Man Bites Dog' (1992), one of the forefathers of mockumentaries, Long Pigs tackles twisted philosophies in a successful attempt to flesh-out (no pun-intended) the film, which as a result provides a nuanced and complicated ground for comedy to thrive, particularly at the most absurd of moments. Upon its release, Long Pigs received ample attention, but not enough to propel itself into the cemented reign of popular found footage films, as the film remains fairly underrated nearly two decades on from its release. 

Descent Into Darkness: My European Dream (Directed by Rafaël Cherkaski, 2013) 

'Descent Into Darkness: My European Dream' begins mostly innocuous, with lead character Sorgoï Prakov (played by director Rafaël Cherkaski) detailing his plans to travel across Europe whilst documenting the trip via a video diary. At first, his interactions seem harmless, almost Borat-like in his naive mannerisms and unintentionally hilarious remarks. If it were not for the ominous title card reading that this footage was criminal evidence after Sorgoï suffered a psychotic break during his trip, the film would be akin to an amateur travel vlogger's YouTube channel. Nevertheless, this is where the beauty of the film comes in. Descent Into Darkness blends subtly with complete mania, misdirecting audiences and in turn forging a shocking film that is unforgettable. The scenes of horror are truly gruesome, but what makes the film and its consequential terror even more hair-raising is how Cherkaski's interactions with people were real, with the encounters being largely unplanned and unscripted. Rest assured, the acts of violence and meaty horror scenes were intentionally consented and performed by actors like in any horror film, however, it is the otherwise raw, real tonality and integral quality that makes Descent Into Darkness even more terrifying. 

Milk & Serial (Directed by Curry Barker, 2024) 

Curry Barker, one half of the viral comedy duo 'That's a Bad Idea', was no stranger to social media platforms, often uploading prank videos that were, to be pragmatic, a dime a dozen. However, one day, a longer video was uploaded. At just over an hour, and with a foreboding thumbnail of Barker wearing a plastic mask. This video titled 'Milk & Serial (Found Footage Horror Film)' was a feature film independently directed by Barker for just over $800 and starring only his acquaintances. Yet, this was no ordinary spooky-themed YouTube video, it was a fully-fledged horror film that took the found footage archetype and created a genuinely suspenseful, eerie and creative cinematic feature that went onto open serious doors for Barker. It has only recently been revealed that after the success of Milk & Serial, along with his latest award-nominated feature 'Obsession'(2025), that he will direct the new Texas Chainsaw Massacre film for the sought-after production company, A24. Milk & Serial has all the bells and whistles of an excellent horror film - it's tense and mysterious with a twisty ending, but above all, it is a testament to the unique opportunity that the found footage genre offers for indie filmmakers who do not have the access or availability that mainstream, funded cinema requires. 

Life of Belle (Directed by Shawn Robinson, 2024) 

Shawn Robinson's 'Life of Belle' opens with body-cam footage of police responding to a suburban address, where three lifeless bodies are found, however, Belle (Syrenne Robinson), a young girl from the residence, remains missing amongst the carnage. After searching the scene, officers find footage from indoor nanny cams and Belle's personal handheld camera, however, with no reasonable explanation for the ensuing footage, they release it to the public. The set-up and brief backdrop manage to hook the viewer in within minutes, laying the ground for Robinson's flair for forming an ominous, elaborate story to take centre stage. Like with many films of the genre, Life of Belle is entirely immersive, capturing the slice of life occurring right in front of the lens, but what audiences will not be prepared for is just how distressing and dark this movie is willing to get as the film tackles some truly disturbing terrain. Life of Belle may be one of the least well-known films on this list, but it is most certainly not to be underestimated. 

Evidence (Directed by Howie Askins, 2012) 

The film sees Ryan (Ryan McCoy, who also serves as the writer) and his friend Brett (Brett Rosenberg) wielding around a handheld camera, documenting a camping trip. Inspired by the success and direction of 'Paranormal Activity' (2007), Askins set out to make a found footage film with one of the most shocking endings that is still talked about to this day. 'Evidence' was not the most raved about film upon its release by critics, being blasted for its supposed incoherent conclusion and semi-established plot, two factors that would make it a favourite amongst found footage fan crowds. Whilst these statements are not entirely untrue, the ending does go off the walls, and some elements are invited in only to be abandoned, it is this rambling chaos that turns Evidence from an average horror into a wildly explosive fever dream. 

Zero Day (Directed by Ben Coccio, 2002) 

'Zero Day' was not marketed, received or regarded as a strict horror film, however, at the time of its release and the subsequent 24 years since, the true story it is based upon and the surrounding thematics are completely horrific in every sense of the word. This debut feature film from Ben Coccio is based on the true story of the Columbine shootings in 1999, with Zero Day acting as the video diary footage leading up to the events recorded by the perpetrators of this tragedy. As with such a subject, Zero Day was not without its understandable contention, however, many, including staunch advocates against the associated trauma of school massacres see this form of media as being a provocative tool to promote awareness about the reality of violence. The film rejects scandalised spectacles and any form of Hollywood sensationalism that would sugar-coat the horror, instead, Zero Day shows the banality of evil through its diegetic lens, allowing a view inside the world of a pressing issue that deserves extreme realism rather than glossing over. Zero Day is not an easy watch, instead, it's an important one. 

Savageland (Directed by Phil Guidry, Simon Herbert and David Whelan, 2015) 

In June 2011, a small close-knit town, Sangre de Cristo, which is located on the border of Arizona and Mexico, was torn apart by an undisclosed disturbance where 57 residents were killed over the course of one night. Out of the entire town, there was only one sole survivor, a highly chastised immigrant who documented the incident. It is utterly surprising that 'Savageland' has not managed to capture the masses like it's found footage counterparts, with the horror film ticking off every box one could think of. It's frightening, not in a childish 'boo' and 'got ya!' jumpscares way, but in a deep rooted, unnerving manner that lingers and daunts the viewer for long after watching. It is also a thoroughly executed mockumentary that plays the verité documentary mode of exposition, whilst also including plenty of snippets of literal found footage documenting the treacherously cryptic crime scene. Lastly, Savageland is thematically unique. Whilst every subgenre in horror has its archetypes, common iconography and tropes, found footage offers a distinctive blank terrain, where unprecedented horror can thrive and the immersive interjective quality can translate to all myriads of stories. Savageland brilliantly toys with the medium's quality by implementing a found footage modus through the use of 'found photography', all wrapped up in atmospheric dread and pertinent social commentary. 

The Lost Footage of Leah Sullivan (Directed by Burt Grinstead, 2018) 

The Lost Footage of Leah Sullivan is a thorough slowburn, gradually unravelling the mystery, as we join student Leah Sullivan (Anna Stromberg) on a video project in the documentative quest to solve a cold case that has plagued her small town of Lutton, Massachusetts for years. The film opens with a simple title card informing us that the following events were from an abandoned SD card belonging to Leah. Shortly into the film, Leah begins to unravel what happened in the unsolved case of 'The Mulcahey Massacre', leading to a series of events that become increasingly sinister the closer Leah gets to the truth. The film is certainly not the first to rely on the naturally creepy method of found footage. Throughout, the improvisational nature of found footage creates a realist texture, which accompanies the restricted framing and its organic intensity. As the film situates itself in real, unedited time, the audience discovers the hidden secrets behind the massacre at the exact same time as Leah, in turn forcing the horror to become directly experienced rather than a passive, overtly staged scenario. 

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