If you’re wondering where to find the next generation of great filmmakers, look no further than YouTube. Running a channel involves pumping out content on a regular basis, shooting and editing your own videos (on a limited budget), and learning how to grow an audience; self-taught skills that will come in handy when it comes to making a first feature. A prime example of this is Danny and Michael Philippou, who started off making horror comedy shorts on their channel RackaRacka and went on to direct the very successful Talk To Me. And now there’s another name to add to that list: Chris Stuckmann and his debut feature Shelby Oaks.
For over a decade, Stuckmann has been reviewing movies on YouTube, raking in millions of subscribers. A couple years ago, he set out to make a movie of his own, and launched a Kickstarter campaign to fund it, with the help of producer Aaron B. Koontz (The Artifice Girl). Within 24 hours, the project had reached its goal of $250,000, and by the end of the campaign, it had accumulated more than five times that amount, breaking Kickstarter records. This caught the attention of Mike Flanagan (The Fall of the House of Usher), who signed on as an executive producer. Ahead of Shelby Oaks’ worldwide premiere at this year’s Fantasia Film Festival, it was announced that Neon will be handling its distribution, so expect to see a marketing campaign where we’re fed bits and pieces, similar to that of Longlegs.
“To find the next generation of great filmmakers, look no further than YouTube.”
Shelby Oaks follows Mia (Camille Sullivan, Hunter Hunter), who is being interviewed by a documentary crew about the mysterious disappearance of her sister Riley (Sarah Durn, Where the Crawdads Sing) in 2008. In the early days of YouTube, Riley hosted a series called “Paranormal Paranoids,” where she and her three co-hosts would investigate supposed hauntings. It was while exploring the abandoned town of Shelby Oaks in Ohio that the four Paranoids went missing. At first, fans of the channel speculated that their disappearance was a publicity stunt for their next video, until weeks turned into months and then years. Police were able to recover one of their cameras from their last known whereabouts but found little else to indicate where Riley had gone. Twelve years later, the case has been closed, with many claiming Riley is most likely dead. But Mia is convinced that her sister is still out there, and the keys to finding her can be found in previously overlooked episodes of Paranormal Paranoids, as well as Riley’s childhood nightmares.
The idea for a fictitious paranormal investigation series was conceived during the pandemic, when Stuckmann and his wife Sam Liz filmed videos in the woods as their way to deal with boredom, and the story expanded from there. Stuckmann’s love of film comes through as he blends various genres such as early 2000s found footage, true crime documentaries, ‘80s supernatural thrillers and the more recent wave of Screenlife dramas. The story is told with a mix of news reports, camcorder footage, MySpace comment sections and interviews, all the while shifting video quality and aspect ratios. Seemingly innocuous videos of Riley’s last known whereabouts are examined closer to reveal something sinister lurking in the backgrounds.
“…a movie that’s best experienced going in blind.”
Camille Sullivan carries the movie on her back with her ability to act completely petrified by fear, yet also putting on a brave face as Mia pushes forward against all odds. The supporting cast offer one-dimensional performances, merely acting as obstacles in her quest to find her sister, with the exception of a brief appearance of horror royalty Keith David (Nope) who, in under three minutes, personifies someone burdened with a lifetime of disturbing imagery, as he gives Mia a missing piece to the puzzle.
Can years of reviewing movies translate to good filmmaking? Hard to say. Though the initial concept of the story is unique, the film falls victim to familiar tropes. I am not at liberty to reveal exactly how, since this is a movie that’s best experienced going in blind. Since its premiere, critics have been clamoring to tear it apart without reserving an inch of lenience they would normally show a first-time director who crowdsourced their own budget. Ultimately, it will be up to the general public to determine the success of Shelby Oaks and a future in filmmaking for Chris Stuckmann. But considering the reputable names who have already thrown their support behind this project, it’s enough proof to show it has something special.
“Though the initial concept of the story is unique, the film falls victim to familiar tropes.“
Chris Stuckmann’s Shelby Oaks celebrated its World Premiere at the 2024 Fantasia Film Festival. Click HERE to follow our continued coverage of the fest and let us know if you’re ready to investigate the paranormal over in the Nightmare on Film Street Discord!
