Sun Oct 26 16:20:00 UTC 2025: Here’s a news article summarizing the interview with Chris Stuckmann about his new horror film, “Shelby Oaks”:

“Shelby Oaks” Director Chris Stuckmann Blends YouTube Roots with Found Footage Horror for Shocking Debut

Hollywood, CA – Chris Stuckmann, known for his YouTube film criticism, has made a splash with his directorial debut, “Shelby Oaks,” a horror film now playing in theaters. The film blends found-footage techniques with traditional scares and mockumentary elements, creating a unique and unsettling experience for viewers, drawing comparisons to “Blair Witch Project” for the YouTube generation.

“Shelby Oaks” follows Mia Brennan (Camille Sullivan) as she searches for her younger sister Riley (Sarah Durn), a YouTuber and amateur ghost hunter who disappeared 12 years prior in the town of Shelby Oaks with her paranormal investigation group, The Paranormal Paranoids. The film shifts from a documentary-style investigation of Riley’s disappearance into full-blown supernatural horror.

In an interview with Variety, Stuckmann discussed his journey from YouTube critic to feature film director, and the inspirations behind “Shelby Oaks.” Stuckmann revealed he developed multiple spec scripts to increase his chances of getting a film produced, finally connecting with Aaron Koontz at Fantastic Fest in 2019.

He drew inspiration from his years on YouTube, particularly the popularity of reaction videos, and the evolution of online horror. He emphasizes the importance of the mixed media approach, combining traditional filmmaking with the found footage aesthetic and capitalizing on the way in which people consume information today. Stuckmann stated that he even shot the found footage segments using equipment from the era they were supposed to have been filmed in, striving for authenticity.

Stuckmann was adamant about the ending, as it was important to have a lasting impact, emphasizing that the film has a deeper meaning when it comes to handling trauma from the past. He also expresses excitement about the increasing number of filmmakers emerging from platforms like YouTube, TikTok, and Vine, believing they represent the future of the industry.

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