In the ever-growing world of found-footage horror, House on Eden enters the scene with a refreshingly personal touch and a genuine sense of eerie fun. Directed by Kris Collins—best known to her massive online following as KallMeKris—the film leans heavily into its low-budget roots while still managing to deliver a few memorable scares and a surprisingly cohesive narrative. It’s not a game-changer, but for fans of the genre, it’s a solid entry that wears its influences on its sleeve without losing its own identity.
The story follows paranormal investigators Kris, Celina, and Jay as they embark on what they believe will be another run-of-the-mill ghost hunt, only to find themselves rerouted to a mysterious, abandoned house in the woods. As the night spirals into chaos, they encounter an ancient force that seems to be watching—and manipulating—them. It’s a premise we’ve seen before, and yes, comparisons to The Blair Witch Project, Paranormal Activity, and Hell House LLC are warranted, but House on Eden distinguishes itself in the details.
Where most found-footage films falter is character likability, but House on Eden sidesteps this trap. Unlike films like Deadstream, where the lead's grating personality can be a turn-off, the trio here is surprisingly tolerable—even likable. There’s a natural camaraderie that makes their interactions feel genuine, and at times, even funny. You could imagine hanging out with these people, which makes the horror more effective when it eventually arrives.
Technically, the film plays with various camera types and recording styles, which adds a textured visual experience that’s both a strength and a weakness. On one hand, it contributes to the realism and mood. On the other, the frequent shaky-cam and occasional overexposure or soft focus can be exhausting, especially during the first 30 minutes, which rely heavily on setup and atmospheric wandering with little payoff. Watching from home, it was disorienting at times—I can’t imagine seeing it on a theater screen without getting queasy.
The pacing is another mixed bag. There's a lot of filler footage meant to show the passage of time, which can build tension in clever ways, but also feels like padding. Still, once the team enters the titular house, the film hits a much-needed stride. The third act offers some genuinely creepy set pieces and a few well-executed practical effects. The atmosphere turns suffocating in the best way, and while the ending leaves some questions unanswered, there’s a simple beauty to its ambiguity that fits the found-footage format.
Plot-wise, House on Eden is functional. It mostly holds together, even with a few head-scratching inconsistencies—like a bathtub full of water despite the house supposedly having none. The lore could have been fleshed out more, but in a way, its vagueness adds to the unease. Not everything needs to be explained, and in this case, that works in the film’s favor.
There’s also a subtle religious thread running through the narrative that doesn’t come off as preachy or heavy-handed. Instead, it adds thematic texture, hinting at larger implications without veering into dogma or satire.
At 77 minutes, House on Eden doesn’t overstay its welcome, and while it may not leave a lasting impression like its influences, it does showcase a passionate group of creators who clearly understand the genre. The DIY nature of the production is both its charm and its limitation—but that’s also the point.
Kris Collins and her team set out to make a found-footage film with their friends, and the result is something sincere, spooky, and occasionally striking. They aren’t quite there yet, but this film proves they might be soon.
House on Eden is a modest but effective slice of found-footage horror that embraces its genre tropes while carving out a personality of its own. Flawed but fun, and worth checking out—especially if you’re a fan of the format.
Jessie Hobson