A Hospital That Refuses to Let Go

MOVIE REVIEW
Infirmary
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Genre: Horror, Found Footage
Year Released: 2026
Runtime: 1h 27m
Director(s): Nicholas Pineda
Writer(s): Katy Krauland, Nicholas Pineda
Cast: Paul Syre, Mark Anthony Williams, Danielle Kennedy, Corinna Wagner-Smith
Where to Watch: shown at the 2026 Dances with Films New York

RAVING REVIEW: What does found footage still have to offer when audiences already know the rules of the game? INFIRMARY approaches that question without trying to reinvent the wheel, which, honestly, after almost 30 years (technically longer, but that’s a conversation for another time), feels oddly refreshing. Rather than chasing innovation, the film chooses refinement through discipline and control. Set almost entirely inside an actual abandoned mental hospital, INFIRMARY understands that credibility in found-footage horror comes less from invention than from commitment to its environment and limitations.

The story is stripped to its essentials. Edward, a young security guard, begins his first night shift at the Wilshire Infirmary, a decaying institution with a long and uncomfortable history. Paired with Lester, a retiring guard whose behavior feels off from the start, Edward is quickly pulled into a situation that escalates from routine unease into full psychological disintegration. Bodycams and security cameras become the audience’s only window into that collapse.

Nicholas Pineda’s debut feature shows a strong grasp of spatial horror. The hospital isn’t just a backdrop; it dictates the film in other ways. Long hallways, blind corners, malfunctioning lights, and the constant hum of the space create an environment that feels oppressive without needing constant escalation. The decision to rely on surveillance footage and bodycams offers the film a consistent thematic tone. The camera placement reinforces Edward’s lack of control, trapping both him and the viewer inside fixed perspectives that refuse relief.

Paul Syre offers a surprisingly grounded performance that resists overreaction. His portrayal of Edward is effective, especially in the early stretch where the fear is more anticipatory than explicit. Mark Anthony Williams’ Lester is deliberately opaque, a character who feels like he belongs to the building more than to the present moment. That ambiguity works in the film’s favor, keeping tension alive even when the narrative pauses.

Technically, INFIRMARY is strongest in its sound design and editing. Small audio cues, distant noises, and abrupt silences do far more work than visual shocks. The editing maintains coherence despite the fragmented footage sources, which is no small feat in a format that can easily become disorienting. When the film leans into restraint, it works best.

Where INFIRMARY struggles is in its story progression. The film commits heavily to atmosphere, sometimes at the expense of momentum. There are stretches where tension plateaus rather than escalates, and repetition begins to dull the impact of otherwise strong imagery. The slow-burning approach tests patience without offering new layers in return.

Thematically, the film flirts with ideas about institutional neglect, mental health, and the erosion of identity, but it never really dives into exploring them. These elements hover at the edges of the story, suggested rather than examined. While that ambiguity can work in found footage, here it sometimes feels like an opportunity left on the table. The film could have handled the deeper dive.

The final act leans heavily into genre clichés, and while it delivers some unsettling moments, it never quite lives up to the promise of the setup. The ambiguity remains, but the emotional payoff feels muted. The film seems more interested in sustaining mood than resolving character arcs, which may satisfy some viewers more than others. It is worth noting that INFIRMARY understands its limitations and mostly works within them. This is an ultra-indie production that uses its resources wisely, and the location's authenticity alone adds a layer of credibility that many larger found-footage projects lack. The film doesn’t feel careless or rushed, even when its ambition outpaces its execution.

INFIRMARY world premiered at Dances With Films NY. It is a serious, committed genre effort that values craft over gimmicks, even if it doesn’t always push its ideas as far as they could go. For found footage fans, there is enough here to appreciate, particularly in the film’s disciplined use of space and sound. This is the type of film that falls firmly into the midground for me. Although some will argue that a 2.5-star movie is horrible, it falls right in the middle for me, a film I didn’t love, but also didn’t hate!

In the end, INFIRMARY lands as a respectable but uneven entry in a crowded genre. It doesn’t embarrass itself, nor does it fully distinguish itself. What it offers is atmosphere, control, and a clear respect for the tools it is using. What it lacks is a sharper narrative spine to carry those strengths through.

INFIRMARY is a film that knows how to unsettle, even if it does not always know how to wrap things up in the way that it could. That places it squarely in the middle of the pack, effective in moments, restrained in ambition, and worthy of attention for what it does right rather than what it ultimately achieves.

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[photo courtesy of AMALGAM FILMS]

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