The Unnamed Footage Festival has revealed the second wave of films and special events for its ninth edition, returning to San Francisco from March 24–29, 2026.

Dedicated to found footage and in-world-camera storytelling, the festival will once again take place at the historic Balboa Theater while expanding its programming with additional events across the city. Among the newly announced titles are the world premiere of Jason Zink’s Looky-Loo: Part II and the U.S. premiere of Gonzalo Otero’s Peru-set folk horror The Devil’s Teardrop. Other features joining the lineup include Adam Meilech’s horror-comedy Content, Dusty Saunders’s Big City Pizza, Karsen Schovajsa and James Besse’s DIY horror film The Killing Cell, and Dan Brownlie’s Groupchat, which centers on a virtual tabletop gaming session that takes an unexpected turn.

The festival will also feature several special events throughout the week. On March 24, the festival partners with Alamo Drafthouse Cinema for a Terror Tuesday screening of The Sacrament directed by Ti West. The annual Recalibration Party follows on March 25 at Artists’ Television Access, highlighted by the Found Footage Power Hour curated by Thomas Burke.

Additional programming includes ARGather 2026 on March 28, hosted by filmmaker and documentarian Alex Hera. The event will explore Alternate Reality Games through presentations, discussions, and related screenings.

The festival will conclude on March 29 with a presentation on Kenneth Anger’s Invocation of My Demon Brother hosted by author Jarrett Kobek, followed by “An Evening with Dutch Marich,” where the Horror in the High Desert director will discuss his work and introduce a surprise screening from his catalog.

The full schedule for the Unnamed Footage Festival will be announced soon, with badges currently available via FilmFreeway and additional ticket options expected in the coming weeks.

SECOND WAVE OF UFF FILM SELECTIONS

looky-loo: PART II (2026, dir Jason Zink) WORLD PREMIERE

Continuing where the first film left off, the looky-loo killer’s newfound infamy encourages him to push his crimes to further extremes as he documents his sadistic ventures, adding a new metatextual element to the film.

Jason Zink (Straight Edge Kegger, looky-loo) returns to San Francisco with his second journey into Found Footage Horror. Expanding his world while ensuring Part II stands firmly on its own, Zink welcomes newcomers into a nightmare of voyeurism, obsession, and the commodification of human suffering. Teaming up with fellow UFF8 alum Kansas Bowling (Cuddly Toys, Once Upon a Time… in Hollywood) and bringing her singular presence to this unfiltered Midwestern horror, looky-loo: PART II doesn’t simply ask you to watch. It asks what it means that you want to.

THE DEVIL’S TEARDROP (2025, dir Gonzalo Otero) US PREMIERE

Sarah, a young American, convinces her three friends – Isaac, Jackie, and Horacio – to assist in completing her audacious ecological documentary. Their journey takes them deep into the shadowy world of illegal mining in an enigmatic Peruvian forest. Upon arrival, locals vehemently caution them against approaching the forest or the mining town, citing the presence of the Supay – an ancient being from Andean mythology capable of taking various forms and remaining unnoticed to attack intruders.

CONTENT (2025, dir Adam Meilech)

Shown exclusively through real phones, laptops, drones, and doorbell cameras, CONTENT follows a seemingly polite director whose commitment to “authenticity” curdles into obsession.

Shot for under $3,000 by a scrappy team of University of Arizona film school alumni, Meilech’s debut feature is an independent found footage satire of online performativity. Using real screens, real locations, and a crew that often doubles as the cast, the film leans into immediacy and voyeurism to capture the hyper-online world we inhabit. Rejecting the notion that phones and text threads are “un-cinematic,” CONTENT weaponizes the familiarity of webcams and front-facing cameras – placing us directly in the gaze of a stalking, maniacal filmmaker and daring us to look away.

Initially dismissing these warnings as ploys to conceal illegal activities, the group defiantly breaches the prohibition, venturing into the forbidden territory. However, they swiftly realize the chilling myths hold genuine and terrifying truths, along with the actual purpose of their presence – a revelation that will forever alter their fates.

BIG CITY PIZZA (2025, dir. Dusty Saunders)

The Omni Ball Championship is here and tensions are rising in the big city. Meanwhile Boney, a pizza delivery skeleton, is just trying to make it through one increasingly impossible night.

Inspired by the experimental animation of Don Hertzfeldt, and constructed with the theory of Ian Hubert – who’s known for his  hyper detailed world building. BIG CITY PIZZA is an exciting addition to the genre of in-world-camera, skeleton POV, One take, Animated, features.

THE KILLING CELL (2025, dir. Karsen Schovajsa, James Besse)

In the summer of 2006, five teenagers break into an abandoned prison that is supposedly haunted. As they explore the place, they discover that what inhabits it is much more dangerous than the paranormal.

Co-directors Karsen Schovajsa and James Bessey bring years of tenacious genre experience to their feature debut. Schovajsa, whose shorts have played festivals including Atlanta Horrorfest and Tuesday of Horror (where he received a Best Horror Short nomination), proved his DIY mettle shooting The Devil’s Hour on 35mm in a single day. Bessey, with a background working crew for major studios like Warner Bros. and Marvel while crafting tense, character-driven shorts of his own, pairs industry know-how with indie grit. Together, the duo have created a Hi 8 urban adventure that feels like a microbudget German gore film.

GROUPCHAT (2025, dir. Dan Brownlie)

A grieving game master’s new online role-playing adventure spirals into a deadly reality, trapping players in a supernatural fight for survival.

Told entirely through screens, webcams, and in-game interfaces, GROUPCHAT embraces its tabletop DNA while weaponizing the intimacy of digital space. Brownlie leans into the chaos of online collaboration, blurring performance and panic in real time. The result is a screenlife RPG session set during the Halloween season, something UFF thinks is long overdue.