Shelby Oaks Review: A Stellar Supernatural Mystery That Reframes Found Footage Horror [Fantasia Fest 2024]

There's an expression that gets tossed around the entertainment industry that says "Every movie is a miracle." It's a way to express that even with corporate backing, massive budgets, celebrity casting, and a stellar crew, moviemaking is so difficult that it's a miracle that a movie ever comes to fruition. This goes double if not triple for those working outside of the studio system. YouTube film enthusiast-turned-filmmaker Chris Stuckmann is one of those miracle stories, a guy from Ohio who managed to translate making videos about movies in his bedroom to directing the most-funded horror film in Kickstarter history and nabbing a distribution deal from Neon in the process.

"Shelby Oaks" is Stuckmann's directorial feature debut, a film he's been developing for the better part of a decade. The story is centered on a woman named Mia (Camille Sullivan), the sister of paranormal investigator Riley (Sarah Durn) who has been missing for 12 years. Riley's team, The Paranormal Paranoids, has become a major topic of interest for online sleuths and journalists, and Mia agrees to participate in a documentary about her quest to find her missing sister and the dreadful circumstances surrounding her disappearance. Immediately, the film feels as if it's heading toward becoming the rightful successor to "Lake Mungo," but instead of just recreating a straight homage, "Shelby Oaks" completely reframes what is possible in found footage horror, and becomes one of the most unique horror films of the year. 

With the inclusion of the "Lake Mungo"-style of found footage, "Shelby Oaks" tricks the viewer into constantly being on the lookout for something sinister hiding in the background. This isn't a horror movie with the intent of jolting audiences with jump scares, but instead constantly creeping up on them as they settle into what feels like a familiar supernatural mystery. It's hard not to become paranoid as Mia descends deeper and deeper into her investigation. We know she'll inevitably find something, and Stuckmann beautifully keeps us at arm's length — forcing the audience to sit in an anxious pool of curiosity.

Mia's quest to learn the truth about Riley takes her into uncharted territory, bringing her to disquiet locations, like an abandoned amusement park and a dilapidated prison (The Ohio State Reformatory as used in "The Shawshank Redemption"). They are both easy pulls to disturb audiences by mere existence, but "Shelby Oaks" wisely toys with both locations through footage of Riley's Paranormal Paranoids investigations, and Mia's visits. Even with the million-dollar budget, there's something that still feels incredibly DIY about "Shelby Oaks," which works fantastically for a film that blurs the lines between reality and narrative fiction.

It's like the horror version of "Kevin Can F*** Himself," when the camera switches between the multi-camera sitcom set-up to the single-camera look of prestige TV. Riley's footage is gritty and analog while Mia's is cinematic. Viewing the world from different perspectives and time periods often feels like we're peering into a world we're not supposed to see. Fluctuating between the paranoia of trying to solve Riley's disappearance through the footage left behind and the heartbreaking terror of the sister who refuses to give up on her allows what in lesser hands would be a paint-by-numbers ghost story transform into a deeply empathetic character study of people dealt a cruel hand by the universe.

Stuckmann's directorial eye more than proves that he knows what he's doing, but "Shelby Oaks" lives and dies by Camille Sullivan's performance. Everyone in Mia's life has accepted and mourned that Riley is most likely dead, but Mia is unconvinced. She's obsessed with the idea of her sister still being alive and Sullivan injects so much relatable humanity into her performance, that we completely buy into why she's allowed this obsession to take over her life.

Brendan Sexton III plays her supportive and well-meaning husband Robert, and when the pair fight over Mia's unwillingness to let Riley go, the sensation of voyeurism in this personal drama is amplified even further. Sullivan completely gave herself over to the performance of Mia, and it feels like one of those magical moments where we're privy to a long-time actor finally getting to play the role they were born to bring to life. Mia carries the emotional weight of the entire film and without Sullivan's fearless commitment to her character's journey, "Shelby Oaks" would be lost in the woods. 

It's clear that Chris Stuckmann loves horror and has taken his years of determining what he likes and what he thinks "works" by reviewing films on YouTube to shape his craft. At no point does it feel like "Shelby Oaks" is anything other than the very best version of what he intended to make, as opposed to the numerous films by first-time feature filmmakers who spend too much time trying to make something they think they're supposed to make. The result is a deeply unsettling view that never loses its sense of heart or humanity. With Sullivan's phenomenal performance and Stuckmann's keen eye, "Shelby Oaks" allows us to witness the start of one of the most promising new voices in horror.

/Film Rating 8 out of 10

"Shelby Oaks" will be released by Neon sometime in 2025.