2026 is shaping up to be one of the most interesting years found footage has had in a while. On one end of the spectrum, you have Backrooms — a $10 million A24 production directed by a 20-year-old YouTuber that grossed over $330 million worldwide and put the genre back on the mainstream map. On the other, you have 50+ micro-budget films from around the world, shot on cameras and camcorders by people who love found footage enough to make it with whatever they have.
That range is what makes this genre worth following. This list covers everything I’ve tracked down for 2026 — from the A24 blockbuster to the Vietnamese ghost story to the French Corsican folklore film nobody’s heard of yet. I’ll keep updating it as new titles surface. If you spot something missing, drop a comment below.
Notable Entries in 2026
⭐ Backrooms (2026) — The one that changed everything. A24 handed a $10 million budget to Kane Parsons, a 20-year-old YouTuber who had built one of the most watched found footage series on the internet from his bedroom. The result grossed over $330 million worldwide, made Parsons the youngest director to reach number one at the US box office, and put found footage back on the mainstream map in a way it hasn’t been since Blair Witch. Whether you loved it or found it too slick for the genre, it mattered.
⭐ Loner (2026) — The indie gem of the year. Charlie Robb wrote, co-directed, and stars as a hapless vlogger who retreats into a Welsh forest and finds something ancient and unwelcoming already there. Before most people had seen it, Loner had already won Best Feature at the British Horror Film Festival, Best Film and Best Actor at the Black Sunday Film Festival, and Best Director at Nòt Film Fest. It’s slow, minimal, and genuinely committed to its own rhythm — exactly the kind of film the genre was built for.
⭐ Bodycam (2026) — Two police officers accidentally shoot a man during a domestic call and decide to cover it up. The bodycam footage is the first problem. What’s watching them afterwards is the second. Directed by Brandon Christensen — who made Still/Born and Z, both well-regarded Canadian horror films — Bodycam arrives with more craft behind it than most found footage releases manage, and a premise that earns its supernatural horror by grounding it first in something uncomfortably real.
⭐ The Last Footage (2026) — A genuine landmark. Directed by Arkar Soe Oo and shot in Myanmar, The Last Footage is the first found footage horror film ever made in the country. It premiered at Fantasia Film Festival 2026 — one of the most respected genre festivals in the world — and announced Myanmar as a country with something to say in the genre. The film itself follows a group of friends whose forest getaway descends into chaos when a blood ritual goes wrong. But the story behind it is as interesting as the story in it.
Every Found Footage Movie Released in 2026
Backrooms
The biggest found footage film in years — and arguably the most significant thing to happen to the genre since Blair Witch. Kane Parsons started uploading his Backrooms short films to YouTube at 16, racking up nearly 100 million views before A24 came knocking. The feature, distributed by A24 and produced by James Wan among others, follows a furniture store owner and his therapist who discover a mysterious door leading to a vast, labyrinthine extradimensional space.
It grossed over $331 million worldwide, making Parsons the youngest director to reach number one at the US box office. Read our full review.
Dooba Dooba
Amna takes a babysitting job looking after Monroe, a sixteen-year-old girl struggling with something she won’t name. What starts as an uncomfortable evening — Monroe is erratic, unpredictable, clearly dealing with trauma — escalates into something genuinely dangerous. A contained, single-location found footage film that uses its tight setup to steadily close in on both characters.
Southern Scares
Set in the 1990s, a video store worker discovers a series of tapes left behind by her missing sister — episodes of a homemade documentary series called Southern Scares, dedicated to regional folklore and horror. The deeper she goes into the recordings, the more the line between her sister’s investigation and whatever her sister found begins to blur. Southern Gothic found footage with a strong sense of place.
Distort 2: The Dead Among the Trees
A documentary filmmaker brings a musician back to the Irish forest where, not long ago, he had a series of encounters involving ghostly dogs and time-bending cassette tapes. The aim is to verify what happened. What neither of them accounts for is the woman who has apparently been trapped there for thirty years — and what it will take to get her out. A sequel that expands its mythology without losing the strangeness of the original.
Go To Sleep
A recently single man moves into a new house and sets up cameras after noticing his sleepwalking has become increasingly strange. The recordings start to suggest that what’s happening at night goes well beyond somnambulism — and that whatever he’s sharing the house with isn’t waiting for him to fall asleep by accident. Paranormal Activity-adjacent in setup, but with a more intimate, character-driven focus on the man coming apart in real time.
Wilderness Tapes: Volume One
A YouTuber known as Prospector Pete descends into the Warlock Mine — an abandoned gold mine with a reputation for being deadly — in search of treasure and content. What he finds underground is neither. Wilderness Tapes leans hard into the claustrophobia of subterranean found footage: no signal, no way back up, and something in the dark that was there long before the mine was ever dug.
Infirmary
Edward is a young security guard pulling his first night shift at a decommissioned psychiatric facility in Los Angeles. The building is empty — officially. By the time morning comes, if it comes, he’ll have learned exactly what kind of things a place like that holds onto. Classic haunted-building found footage, the kind that lives or dies on atmosphere and location. The setting does most of the work here.
The House on Haunted Grounds
A paranormal investigation team gets access to a house where a clown-masked serial killer was shot dead, days before the building is scheduled for demolition. The clock is literal — they have one night to document whatever’s inside before it’s rubble. Found footage with a built-in ticking timer and a location with exactly the kind of history that makes for uncomfortable viewing after dark.
Hunting Matthew Nichols
Twenty years after her brother Matthew walked into the woods and didn’t come back, his sister decides she’s done waiting for answers. She starts digging — old files, old contacts, places he’d been. Then a piece of evidence surfaces that changes everything: it suggests Matthew might not have died out there. Found footage built around the particular obsession of a sibling who never accepted the official version of events.
Van Life
Zoe dropped out of law school and took to the road instead, documenting her life in the Northern California redwoods for an audience who wanted something real. The footage that survives shows exactly how real it got. Van Life strips the format back to its most elemental form — one person, one camera, a landscape that stops being beautiful and starts being hostile — and lets the isolation do the heavy lifting.
Bodycam
Two police officers respond to a domestic dispute that ends with an accidental fatal shooting. Rather than report it, they cover it up. The bodycam footage is the first problem — but it quickly becomes apparent that whatever witnessed the incident isn’t finished with them. Bodycam uses the procedural found footage format to build a horror film that’s as much about guilt as it is about the supernatural.
Lầu Chú Hỏa: The Deadliest Mansion
A team of internet streamers breaks into the legendary Mansion of Uncle Hoa in Saigon — a colonial-era estate with a long, dark history — to capture supernatural footage for their audience. What they find inside goes well beyond what any of them signed up to broadcast. Built around one of Vietnam’s most enduring ghost legends, this is found footage that earns its setting.
Frogman 2: Frogman Returns
Dallas, Amy and Frogman are back in Loveland with unfinished business to settle. The first film built its mythology carefully — this one picks up the thread and runs with it. If you haven’t seen the original, fix that first. If you have, you already know whether you’re in for this one.
Sundown
Mary’s husband died of dementia. Now she’s convinced his spirit is haunting the house. Her estranged son Chris arrives with a filmmaker friend and a spiritualist named Clarissa, fully intending to prove their mother wrong and put the whole thing to rest. The cameras are there to document the debunking. They end up documenting something else entirely.
The Hounds Gate Haunting
Details are scarce on this one, but the title and imagery suggest a British location-based haunting — the kind of found footage that leans on atmosphere and place rather than plot. One to watch as more information surfaces closer to release.
Old Wounds (2026)
An aspiring filmmaker documents a road trip with his girlfriend. Standard setup — until he starts noticing that someone else is filming them too. Old Wounds plays with the paranoia of being watched, turning the camera from a tool of documentation into a source of dread. The further they get from home, the more footage accumulates that neither of them recorded.
Human Hibachi 3: The Last Supper
A man consumed by religious delusion leads his devoted followers to a ceremonial last supper — one where the menu is not what guests were expecting. The Human Hibachi series has never been subtle about what it is: extreme found footage horror with a very specific kind of stomach-turning premise. This third entry doubles down. Not for everyone. Decisively not for everyone.
Invoking Scream
Three metalheads dig up a buried box at the grave of a heavy metal singer who vanished years ago. Inside: a VHS tape and a book of witchcraft. What begins as a documentary about the singer’s disappearance and the 1998 murders of her bandmates spirals into something far darker. A sequel to Invoking Yell, and a film that understands exactly what kind of audience it’s making itself for.
Primal Darkness
Cole Harrington hosts a wilderness show. He goes to rural Nevada to investigate a series of cattle attacks — the kind of job that sounds straightforward until it isn’t. When he uncovers footage of two missing university employees recorded in the same area, the investigation stops being about livestock. Found footage that uses the great outdoors as something properly threatening rather than merely scenic.
Creature of the Pines
The New Jersey Pine Barrens have swallowed people for generations. Creature of the Pines focuses on a specific area known as Pine Hollow — a stretch of wilderness with a particular history of disappearances that locals don’t talk about and outsiders don’t believe. A film that does exactly what good found footage should: pick a location with genuine mythology and let it do the work.
The Third Shift: A Paranormal Horror Story
Five paranormal investigators get permission for an unaccompanied overnight investigation at a decommissioned prison in Gloucester. No crew, no supervision, just cameras and a building with decades of history inside its walls. They vanish before morning. The footage is what remains — and it’s enough to understand, roughly, what happened to them.
Homebody
Meg is a young widow still living the life she and her husband were supposed to build together. One night she crosses paths with a homeless woman who claims she can talk to the dead — and who seems to know things only Cory could have known. Meg brings her home, strikes a deal, and slowly discovers that opening that particular door comes at a price she didn’t anticipate.
Buffet Infinity
Presented entirely as a series of low-budget local TV commercials from the fictional town of Westridge County, Alberta, Buffet Infinity follows two rival restaurants locked in an increasingly sinister battle for customers. What starts as a deadpan comedy in the spirit of SCTV slowly darkens as something very wrong begins seeping through the cracks of the ads themselves.
Watchful Eyes
Sebastian is a grieving man who takes a night janitor job at a university campus, partly to survive and partly to keep moving. While reviewing security footage tied to a professor’s suspicious death, he starts noticing things in the recordings that don’t add up — and a ghost story that the university would very much prefer to keep buried.
Vengeance X
William Floss arrives at an old, abandoned house with a camera and a mission: find out what happened to Ami, who went missing here. The house once belonged to a man known only as LearX. The deeper William goes — literally and figuratively — the more the building seems to resist him. What started as an investigation starts to feel like a trap.
Muffled
Ten years ago, a friend disappeared. Nobody ever found out why. Now two aspiring true-crime documentarians return to their hometown to dig into the case — pulling at threads that connect internet folklore, occult rituals, and a mystery the town never really wanted solved. The deeper they go, the clearer it becomes that some things were muffled for a reason.
Hedges
A man begins secretly filming his wife as her mental state deteriorates. He tells himself it’s for her protection — documentation in case things get worse. But the cameras pick up more than erratic behaviour. What they capture at the edges of the frame, just beyond what the eye wants to acknowledge, suggests that his wife’s grip on reality may not be the only thing coming apart.
The Last Footage
A group of friends on a forest retreat find themselves caught between two horrors after a young boy vanishes and a desperate blood ritual goes badly wrong. Myanmar’s first found footage film, shot on camera glasses and recording every moment of the group’s unravelling — a collision of witch mythology and dark web summoning that leaves no clean exits.
The Waiting Man
In 2022, TOMNI was one of the biggest streaming groups on the internet — seven million followers, daily content, a community built around them. Then, over the course of a single week, their videos changed. And then they vanished. This film is assembled from the footage recovered across their devices: social media clips, SD cards, hard drives. Experts believe it documents first contact with something they’re calling the Waiting Man.
NORM
The zombie apocalypse is over. The undead lost. But now they’re illegal — and the survivors have to deal with something arguably worse than the outbreak itself: the bureaucracy that came after. NORM is a shaky-cam zom-com that trades jump scares for satire, following the absurd administrative nightmare of a world that defeated the undead and immediately started generating paperwork about them.
Cassette 2
Four new tapes. That’s the pitch, and in the found footage anthology tradition, that’s enough. Cassette 2 follows its predecessor in presenting a collection of raw, unconnected recordings — each one its own contained nightmare, each one ending before it fully explains itself. Anthology horror at its most stripped back.
Anacoreta
A group of friends head into the wilderness to shoot a horror film together. Their director Jeremy, however, has been secretly staging frightening events without telling the others — blurring the line between what’s scripted and what’s real, and slowly pushing the group dynamic past its breaking point. Anacoreta is a meta found footage film that turns the camera on the act of filmmaking itself, and what happens when one person’s creative control becomes something more sinister.
Don’t Look in the Dark
A couple’s phones start recording on their own during a camping trip in the Pinelands National Reserve — no one touched them, no one asked them to. The footage they recover shows Maya spotting a child at the edge of the treeline. What follows is fragmented and disorienting, a descent into something the forest was already holding long before they arrived. Screenlife-adjacent in format, deeply unsettling in execution.
Night Terror
Two college students choose a young woman with severe sleep paralysis as the subject of their documentary. She lives alone in a farmhouse. Her episodes are frequent, vivid and genuinely frightening to witness. The students set up cameras to capture everything. What the cameras capture at night — when she’s unconscious and they’re supposedly safe behind their equipment — is not what any of them were prepared for.
Heritage
Marie and Daniel haven’t been back to Corsica in fifteen years. Their grandfather is old, stern and estranged — a reunion nobody was particularly looking forward to. They bring a camcorder to document it. What the camcorder picks up, as they dig into the island’s folklore and the family’s history, suggests that their grandfather’s distance from them may have been a form of protection rather than coldness.
Rabisu: Curse of the Demon
A ghost-hunting team built for social media breaks into a warehouse to film content. They get more than content. The ancient Mesopotamian demon they accidentally trigger — Rabisu, a lurking entity from Akkadian mythology — doesn’t behave the way horror film demons usually do. It manipulates. It possesses. It rearranges the space around them. By the time they understand what they’ve let in, the exits are no longer where they left them.
Water Horse
A paranormal investigator arrives at a lake with a personal stake in the case — the disappearances she’s been hired to look into mirror the circumstances of her own mother’s vanishing years before. The deeper she investigates, the clearer it becomes that the lake is bound by a curse older than any of the people it has taken. Folk horror found footage rooted in water mythology and a daughter who should probably have stopped asking questions.
Loner
Angus is a vlogger who retreats into the wilderness to make videos about nature and simplicity. The forest has other ideas. Something ancient and territorial holds this particular stretch of woods, and Angus — with his camera and his urban assumptions about what the outdoors actually is — finds himself at the mercy of an order he doesn’t understand and can’t negotiate with. Folk horror found footage with a darkly comic edge and a genuine bite. Check out our full review of Loner!
The Killing Cell
It’s 2006. Five friends break into an abandoned Georgia prison expecting to find ghosts and leave with footage. What they find instead is that the prison isn’t as empty as it looks — and what’s happening inside has nothing supernatural about it. The Killing Cell makes a hard pivot from paranormal found footage into survival horror, and earns the shift by keeping the first act grounded enough that the turn genuinely lands.
The Last Footprint
A documentary crew heads into the woods of York, South Carolina, to investigate a series of animal attacks and missing persons that local authorities haven’t been able to explain. The evidence points toward something large, something territorial, and something that has been out there considerably longer than the missing persons reports suggest. Creature feature found footage in a setting that takes its time earning its scares.
Strawstalker
Henry and Haley are influencers living the kind of curated life their followers believe in completely. Then a scarecrow appears in the backyard of their gated LA home — and it doesn’t leave. The creature seems to feed on dishonesty, passing judgement on the gap between who they perform being and who they actually are. Strawstalker is a found footage horror film that uses the format to skewer influencer culture, and does it with more precision than you might expect.
