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Found footage refuses to die. And honestly? That’s fine. The format works when filmmakers remember it’s a tool, not a gimmick.
Shudder just dropped the trailer for Bodycam, Brandon Christensen’s latest horror venture, and it’s doing something the genre hasn’t fully exploited yet: shooting the entire thing from police body camera perspective. Two cops respond to a domestic dispute, things escalate horribly fast, an accidental double homicide goes down. However, Instead of calling it in, they decide to cover it up.
Bad call. Because their body cameras aren’t the only things watching them.
The Setup That Actually Makes Sense
Here’s what’s working from the jump: the premise has legs. Found footage lives or dies on answering one question, “Why is someone still filming this?” Most movies fail spectacularly at justifying why characters keep recording while running for their lives.
Body cameras solve that problem elegantly. Cops can’t turn them off without raising red flags. The footage is being recorded whether they like it or not, creating a situation where the very thing meant to hold them accountable becomes a record of their descent into supernatural chaos.
The trailer shows officers Bryce and Jackson (played by Jaime Callica and Sean Rogerson) trying to navigate the aftermath of their screw-up when things go sideways fast. What starts as a cover-up story morphs into something far stranger.
The Director Knows How to Work Fast
Brandon Christensen isn’t messing around. This is his sixth feature-length film, following Night of the Reaper, Z, Still/Born, The Puppetman, and Shudder’s Superhost. He co-wrote the script with his brother Ryan Christensen, and they’ve clearly figured out how to crank out content efficiently without sacrificing quality.
Christensen’s track record suggests he understands genre mechanics. Still/Born was a solid slow-burn about postpartum psychosis and demons. Z tackled imaginary friend terror. The Puppetman leaned into body horror possession. The man jumps around subgenres comfortably, which bodes well for a found footage experiment blending police procedural with Lovecraftian dread.
The cast includes Sean Rogerson, who horror fans will recognize from Grave Encounters. A found footage film that actually worked because it committed fully to the bit. Rogerson knows how to sell terror through a shaky camera lens, which is essential here.
Why This Might Actually Work
Found footage has been beaten to death since The Blair Witch Project changed the game in 1999. We’ve seen every variation: haunted houses (Paranormal Activity), asylum horror (Grave Encounters), webcam terror (Unfriended), pandemic outbreaks (REC), and countless others.
Body camera perspective is relatively untapped territory in feature-length horror. Sure, we’ve seen snippets in anthology films and short-form content, but a full 75-minute descent into madness told entirely through police bodycams? That’s fresh enough to justify attention.
The format also creates immediate tension. Body cameras have finite battery life. They can malfunction. They capture audio even when the visual cuts out. There are built-in technical limitations that smart filmmakers can exploit for scares.
Plus, the premise taps into real-world anxieties about police accountability, cover-ups, and what happens when authority figures prioritize self-preservation over justice. Adding supernatural horror on top of that institutional corruption creates layers that most found footage films don’t bother with.
The Cosmic Horror Angle
The trailer hints at Lovecraftian elements, cultists, references to “their lord,” a basement hole that looks like it leads somewhere very bad. If Bodycam leans into cosmic horror properly, that could be the differentiator.
Cosmic horror works in found footage because the format inherently limits what the audience can see and understand. Characters stumble into situations beyond their comprehension, the camera captures fragments of something vast and terrible, and the audience is left piecing together the nightmare from incomplete information.
That’s basically the Lovecraft formula: humanity confronting forces so incomprehensible that merely witnessing them fractures sanity.
If the Christensen brothers commit to that vibe and resist the urge to over-explain, Bodycam could land somewhere genuinely unsettling.
The Shudder Factor
The fact that Shudder picked this up is a good sign. The streamer has become the gold standard for curated horror, and while they occasionally whiff on releases, their track record is solid. They don’t greenlight garbage just to fill content quotas.
Bodycam drops on Shudder (and AMC+) on March 13, 2026. A Thursday, which means weekend watch parties are inevitable. March 13 is also a Friday the 13th, which is just perfect.
The Bottom Line
Will Bodycam reinvent found footage? Probably not. The format has been explored to death, and even the best entries (REC, Paranormal Activity, The Blair Witch Project) can’t escape the inherent limitations of shaky cameras and questionable acting.
But will it be a solid, tense 75-minute ride that uses its body camera gimmick effectively while commentary on police corruption and cosmic dread? Based on the trailer and early reactions, there’s a decent chance.
The film has ambition. It’s trying to blend police procedural realism with supernatural terror and cosmic horror, all filtered through a found footage lens that actually justifies why the cameras keep rolling. That’s more thought than most found footage films put into their premise.
Worst case scenario? It’s 75 minutes and you can bail early. Best case? Shudder just delivered another indie horror gem that reminds us why found footage works when filmmakers respect the format.
Bodycam hits Shudder on March 13, 2026. Your body camera is watching. So is something else.
Decide for yourself when the trailer inevitably shows up in your social media feeds. It’s everywhere right now.
https://www.youtube.com/watch?v=videoseries
