Brandon Christensen has quietly become one of the most dependable voices in North American indie horror, and with Bodycam he leans into something far more chaotic and experimental than anything in Still/Born or Z. What begins as a routine domestic disturbance call for Officers Jackson and Bryce spirals into a relentless gauntlet of claustrophobic hallways, skittering rats, screaming victims and blood soaked basements. It is a film that starts grounded and familiar, almost comfortingly so, thanks to the natural banter between the two cops as they cruise through Jackson’s old neighborhood.

There is an immediate sense, watching Dooba Dooba, that you are seeing something you are not supposed to see. Shot almost entirely through static home security cameras and lo-fi video fragments, writer-director Ehrland Hollingsworth’s unnerving babysitting nightmare doesn’t just flirt with discomfort, it lives there. This is analog horror stripped to its rawest nerve, messy, abrasive, and deeply unsettling in a way that feels intentional rather than indulgent.

Eli Roth’s The Horror Section continues its mission to spotlight bold, boundary-pushing voices in genre filmmaking with Dream Eater, the latest feature from Canadian trio Jay Drakulic, Mallory Drumm, and Alex Lee Williams under their Blind Luck Pictures banner. Already an award winner, including Best Feature at the H.P. Lovecraft Film Festival, and drawing comparisons to The Blair Witch Project and Paranormal Activity, the film will arrive digitally on November 18, 2025, making it a timely addition to horror fans’ late-fall watchlists. Dream Eater follows documentary filmmaker Mallory as she retreats to a remote cabin in the snowy Laurentian mountains with her boyfriend Alex to document his violent parasomnia.

Stuart Ortiz, best known for co-directing Grave Encounters, returns with a daring experiment in horror storytelling: a faux true-crime documentary that blurs the line between reality and nightmare. Strange Harvest unfolds with such meticulous authenticity that, if stumbled upon mid-broadcast, it could easily pass for a legitimate investigative docuseries about a serial killer. The story follows Detectives Joe Kirby and Lexi Taylor as they unravel the return of “Mr. Shiny,” a sadistic killer whose ritualistic murders are tied not just to occult symbolism but to forces of a distinctly cosmic persuasion.

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.