Staring Down Terror at Fantasia 2026

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MOVIE REVIEW
The Last Footage
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Genre: Horror
Year Released: 2026
Runtime: 1h 28m
Director(s): Arkar Soe Oo
Writer(s): Arkar Soe Oo
Cast: Kyaw Kyaw Bo, Li Li Kyaw Khaing, Charlie Nyein
Where to Watch: shown at the 2026 Fantasia Film Festival

RAVING REVIEW: An evil has awakened in Wingabar Forest, and you are there to witness it firsthand. No one is safe from what comes in the night. Myanmar’s first ever found footage horror film, The Last Footage, had its world premiere at the 30th Fantasia International Film Festival on July 27, 2026.

The found footage genre is a tough nut to crack. Over the past quarter of a century, fans have clamored for the next Blair Witch Project, only to be let down time and time again. The market is oversaturated, as many see these films as a way to gain great success without a huge budget. When it works well, it can be industry changing. Paranormal Activity is the obvious example. The greatest challenge is that the technology introduced as the viewers’ vantage point hasn’t changed a lot in that time. We’ve seen handheld cameras and security footage edited together to create a narrative meant to feel 100% authentic. Unfortunately, the actual equipment established in the film rarely serves the story. Higher-end cameras are swapped in for cleaner images in dark environments, faking their way with graphic overlays that may or may not fool the audience.

This is where The Last Footage hopes to innovate. With the recent popularity of smart glasses, writer/director Arkar Soe Oo saw the opportunity to give viewers a first-person perspective and keep it hands free for our in-film proxy. This approach offers the actors motivation to actually look into the camera, making the experience feel much more personal.

The premise for the film revolves around six friends planning their traditional group trip. Aung Khant, our eyes for the film, has just purchased his new pair of smart glasses and boasts to his friends of the great quality and long battery life. The confident Thu Ya announces that he recently inherited a rubber tree plantation in Wingabar Forest, and the gang sets their destination accordingly. Along the way, the group grows. One character’s little brother has to tag along. Their bus driver inserts himself into their fun as well. Finally, Thu Ya’s uncle, a former resident of the forest, begs them not to go. He knows just what terrors lurk in that forest. When his warnings fail, he also joins the party.

It is not long before the trip goes south. Mysterious sounds in the woods are just the beginning, as the local folklore turns from old superstition into a real life problem. The night takes one horrific turn after another, all witnessed from Aung Khant’s eyewear.

The Last Footage does a decent job of selling its gimmick. It spends just enough time on explaining the technology for the audience to accept it and focus on the story. Unfortunately, this is one of the few times that plot devices don’t overstay their welcome. Many scenes, especially when introducing new characters, linger for far too long. If any exposition is given, you can count on being there for a while.

Much of the cast brings with them over-the-top performances that, when matched with the POV, reminded me of attending interactive horror theater like John Braver’s Delusion. Most of the story is happening around Aung, not to him. He is a bystander until he is brought into the action, often against his will. So many of what could be the scariest moments are happening off into the distance. Unfortunately, this doesn’t give us enough time to admire some of the impressive creature effects and gore.

I was really rooting for this film. Myanmar’s history has been tumultuous, and that has affected its film industry immensely. What was once a burgeoning horror scene in the 1950s was quashed by the military coup the following decade. Horror was incompatible with the new government and outright banned. Only in the 2020s has the country really started to create scary movies again. It is now playing catch up on the subgenres that have since developed.

The Last Footage offers a great look at what Myanmar has to offer. Its rich traditions and unique legends are ripe for the scares. I commend the filmmakers on taking that first step of bringing found footage to the region. Sadly, it fails to set itself apart from most other films in the space. While this first entry does not knock it out of the park, I hope this is just the beginning of a greater film movement for the nation and the world.

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[photo courtesy of ATWENTYTHREE]

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