PopHorror Let's Get Scared
In Our Blood is an excellent blend of traditional narrative filmmaking and the immersive realism of found footage. It’s a film that manages to breathe new life into a subgenre many considered exhausted. From the very first frame, the movie establishes a tense, unsettling atmosphere that never truly lets up. The cinematography—gritty, deliberate, and at times disorienting—works perfectly to amplify the story’s psychological tension. Every shot feels purposeful, giving the audience just enough to see while still keeping them on edge.
One of the film’s biggest strengths lies in its performances. Brittany O’Grady, as Emily, delivers a deeply grounded portrayal of fear and resilience. She captures the emotional unraveling of her character with precision, making every moment of terror feel authentic rather than performative. Krisha Fairchild, known for her powerhouse presence in Krisha, is exceptional here as Ana Stuart. Her performance brings a raw vulnerability that adds depth to the story’s darker themes. The dynamic between O’Grady and Fairchild becomes the emotional backbone of the film, balancing chaos with human fragility.
While In Our Blood doesn’t shy away from the expected genre staples—gore, shock, and moments of sheer panic—it handles them with restraint. The violence, while present, never feels gratuitous. Instead, it serves the story’s psychological core, reminding viewers that true horror often comes from what we don’t see. This balance between the visceral and the suggestive is one of the film’s greatest achievements.
Director Pedro Kos brings a remarkably fresh perspective to the found footage style. Known for his work in documentary filmmaking, Kos uses his documentary instincts to infuse authenticity into every scene. The result is a film that feels lived-in and disturbingly real. The pacing, tight and deliberate over its brisk eighty four minute runtime, ensures there’s never a dull moment. Each sequence builds on the last, creating an escalating sense of dread that feels both inevitable and unpredictable.
For audiences who think they’ve seen everything the found footage subgenre has to offer, In Our Blood might just change their minds. It acknowledges the clichés—shaky cameras, unreliable narrators, sudden bursts of chaos—but uses them to its advantage. Rather than feeling tired, these techniques are revitalized under Kos’s direction, serving a story that feels deeply human and hauntingly believable.
Ultimately, In Our Blood stands as more than just another entry in the horror-thriller canon. It’s a reflection on memory, trauma, and how we document our fears. By blending narrative storytelling with the immediacy of found footage, the film challenges the audience to question what’s real, what’s performed, and how much of our own fear is self-created.
Overall, In Our Blood doesn’t suffer from the typical trappings of its genre. Instead, it revitalizes them, offering “new blood” in both concept and execution. With sharp direction, compelling performances, and a commitment to emotional authenticity, Pedro Kos’s In Our Blood is not only a standout found footage film—it’s one of the most memorable psychological thrillers of the year. This film comes highly recommended.
