FANTASTIC FEST INTERVIEW: CHRIS STUCKMANN ON SHELBY OAKS, FOUND FOOTAGE FREEDOM, AND BUILDING A MIDWEST GHOST TOWN
- Horror Movies Uncut
- Oct 9
- 3 min read
By Travis Brown | Horror Movies Uncut
“We made one of the lowest-budgeted films of the year to get a wide release, and I’m damn proud of that.” — Chris Stuckmann
Filmmaker and critic Chris Stuckmann has been one of the most recognizable voices in the online film community for years, but with his feature debut Shelby Oaks, he’s proven that sharp insight can translate into cinematic vision. After its stops at Fantastic Fest and Beyond Fest, Shelby Oaks continues to make noise for its mix of psychological horror, found-footage tension, and Midwest melancholy.
I caught up with Chris fresh off the film’s Los Angeles premiere to talk about his journey from critic to filmmaker, the freedom (and fear) of doing it all on his own, and how he turned the haunting decay of Ohio into the visual heart of Shelby Oaks.
“Fantastic Fest is like coming home.”
When I asked about his whirlwind run between Austin and L.A., Stuckmann lit up.
“I love Austin. I’ve been to Fantastic Fest four times now — that’s actually where I met my producer, Aaron B. Koontz. It’s just such an amazing place. The horror community is one of the last fandoms that still feels pure — everybody’s welcome. You can come to the party whether you’re into slashers, monsters, dark comedies, whatever.”
That sense of inclusion is something he’s carried over into his filmmaking, where collaboration and hustle replace ego.
“We made this with no Hollywood money. Everyone wore ten hats. I’d be directing one second and helping move walls the next. It was chaos, but beautiful chaos.”
On balancing expectations and imposter syndrome
As someone known for his criticism, Stuckmann was candid about the mental gymnastics that came with stepping behind the camera.
“You’ve got to shut out those voices telling you to stay in your lane. I’m my own worst critic. I grew up in a religion that made me feel like everything I did was a sin — so learning to ignore that part of me that says, ‘You’re not good enough,’ was part of this journey.”
Despite the pressures, Shelby Oaks became an indie success story — a small production with big ambition and even bigger heart.
Found footage, freedom, and breaking the rules
Shelby Oaks blurs the line between traditional narrative and mockumentary storytelling, something Stuckmann says was intentional.
“I’ve always loved found footage, but I wanted to play with the format. What if the characters know some cameras are there, but not all of them? That gave us the freedom to go cinematic without losing that intimacy. I asked myself, ‘Am I breaking rules doing this?’ and a friend told me, ‘There are no rules. Make the damn movie.’”
Building Shelby Oaks: “Ghost towns are free production design.”
The decaying, dreamlike look of Shelby Oaks is one of its most striking elements — equal parts Silent Hill and Midwest Americana.
“I love Silent Hill. Always have. But a lot of the aesthetic came from watching YouTubers explore abandoned spaces. Ohio is full of ghost towns, old amusement parks, closed factories — places that already look cinematic. We shot at Chippewa Lake, this park my mom went to as a kid. We didn’t have to build sets — we just had to make sure nobody got tetanus.”
That gritty authenticity became part of the film’s DNA. “If Kevin Smith had a supermarket and made Clerks, I had an abandoned Ohio town and made Shelby Oaks,” he laughed.
The long road to completion
Like many indie productions, Shelby Oaks was hit with every obstacle imaginable — COVID, dual Hollywood strikes, scheduling chaos.
“It was hard, man. Actors had to come and go, we couldn’t shoot in order, and some days we were filming the ending on day three. But it made the movie better. We had kids who played the younger versions of our leads, and because the shoot stretched over years, they actually aged. That’s not makeup — that’s real life helping the story.”
What’s next for Chris Stuckmann?
Now that his debut feature is out, Stuckmann isn’t slowing down.
“I love horror, but I also want to do an action movie next. I’ve got a script ready — tense, fast, full of fights and chases. I’m out there pitching it now. We’ll see what happens.”
As Shelby Oaks continues to find its audience, it’s clear Stuckmann’s voice — once defined by reviews — is now carving a new lane behind the camera. And if the response at Fantastic Fest and Beyond Fest is any sign, the horror community he’s always celebrated is ready to follow him wherever that next project leads.
SHELBY OAKS
Directed by Chris Stuckmann
Starring Camille Sullivan, Sarah Durn, Emily Bennett, Derek Mears, and Michael Beach
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