| Director(s) | Daniel Myrick Eduardo Sánchez |
| Principal Cast | Heather Donahue as Heather Michael C. Williams as Michael Joshua Leonard as Joshua |
| Release Date | 1999 |
| Language(s) | English |
| Running Time | 81 minutes |
| Report Card | Click to go to Review TLDR/Summary |
The title card. 
An explanation that the film is comprised of “real” found footage.
The film opens on the title card, white letters against a black backdrop, before informing the viewer that the footage presented comes from three student filmmakers who disappeared while shooting it. In other words, this is a “true” story based on true, un-edited, footage.
As if in demonstration and confirmation of this status, a completely unfocused mess of colors permeate the screen. It becomes apparent that the camera technician is trying to get the camera to focus on its subject, Heather (Heather Donahue), who explains that she is going to film a documentary on the eponymous “Blair Witch”. Unlike other horrors that start with the “true story” introduction, like The Texas Chain Saw Massacre by Tobe Hooper, The Blair Witch‘s look confirms its announcement, thereby imbuing it with a grounded feeling. Consequently, Heather’s announcement transforms from quirky and cheerful to swan song; the viewer knows that her documentary will lead her to her disappearance. The cheery footage is confirmation that she, and her two cameramen, Joshua (Joshua Leonard) and Michael (Michael Williams) are no more.
This impending doom permeates the film and tinges each of the introduction to the documentary’s crew with melancholy. Heather’s unending enthusiasm feels like a cruel joke. Likewise, Michael telling his mother goodbye hits harder because it’s the last time he’s ever going to see her. As the crew sets off to Burkittsville, Maryland to get footage for their “film”, the viewer knows they’re marching off to their doom.
Town sign for Burkittsville, Maryland 
A statue of an angel. 
A shot of tombstones at a cemetery.
Upon getting to the location of where the “Blair Witch” myth started, Heather, the director of the documentary, switches cameras from the camcorder, which records in color, to the 16-MM film camera, which records in black and white. The former camera is her attempt to capture a “behind-the-scenes” and the latter camera is for the for the documentary proper. The juxtaposition of the black and white scenes to the colored scenes which came before, accentuate the realism the film goes for precisely because of the amateur nature of Heather’s filmmaking.
As she uses the 16 MM to film a set of insert shots in foreboding manner – a town sign, an angel figure, headstones in a cemetery, etc – it’s apparent she’s trying to evoke a sense of fear and immensity for the audience she thinks is going to watch her piece. Her narration is overdramatic and makes the attempt at horror on her part feel cheesy. However, it is precisely because her attempts at selling fear in such a forward fashion fail, that the terrors she experiences in the latter half of the film gain their legitimacy. Because the polish associated with a studio project is missing from these “proper” shots, they give the “improper” shots an extra genuine feeling.
An old man talks about the Blair witch on the camcorder. 
The old man repeats his story in more professional manner when captured on the 16 MM camera. 
A child covers their mother’s mouth when the latter mentions the Blair Witch.
Case in point, Heather and her crew interact a decent amount of townspeople for clues about the witch before deciding to go off into the forest to get footage on landmarks associated with the malevolent entity. They approach most of these people with the camcorder first, before then asking their subject questions about the witch. If the answer satisfies them, they switch to the 16MM camera and start to shoot “serious” footage. The viewer gets to see the crew canvas targets, ask them questions, hear vague series of answers which paint a dark mythos that reveals very little, and then switch cameras to film those townspeople who had something “interesting” to say.
In fact, it is precisely the film’s switching between the two cameras that gives it the terrifying texture that’s made it such an integral part of horror canon. The film invites the viewer into the film-making process and shows them a view of “reality” and then “reality via artifice” in comparison. These moments provide a point of minimal difference that cements that the found-footage comes from the real world, the world the viewer actually resides in. When on camcorder, the townsfolk talk naturally and seem like average residents. There’s nothing obviously phony about them or their presentation. However, when the film camera is used, the townsfolk adopt a persona for the camera, as though conscious that they are now “officially” going to be on film, so they have to act their best. By providing a point of contrast and a measured difference, the film convinces the audience of the “truth” of the two realities its presenting.
Obviously, this technique implies that the theatrics are only happening behind the black-and-white screen. As a result, the camcorder scenes achieve a level of “legitimacy” that gives them a staying power. For example, a baby screaming out and rushing to cover their mother’s mouth when the latter mentions the Blair Witch stories on the camcorder immediately feels like an omen, because it’s not “staged”/repeated in 16 MM. Thus, the camera gains the power of being a filter for reality. It’s a measure of control that demarcates what is reality and what is artifice.
This idea of the camera as controlling force is the driving theme behind The Blair Witch Project and explains why it’s one of the most frightening found-footage films ever. Heather is obsessed with getting more footage of the events, constantly shoving a camera in someone’s face or trying to get more coverage of terrifying events as they happen. Her compulsion to record is criticized by both Josh and Michael at various points, as they see the behavior as at odds with the group’s ability to navigate the spectral occurrences they run into. However, as she explains herself, the act of documentation is all “she has left.” The camera is the only tool she has left to frame the horrors around her into a cohesive narrative that she overcome.
This is also why the camera is constantly associated with civilization, with Heather and company constantly mentioning that their detour in the woods as having to end eventually because America is destroying its environment. Far from being a cause of concern, the characters repeat the statement in the hopes that the unconquerable vastness of the wilderness will eventually give way to the calm control provided by civilization. In this way, the camera becomes the normalizing force of the social order – a tool meant to help carve out the wild and mystical unknowns into something more agreeable. It is an extension of an American dream which envisions technology being used to cut through and remove the inexplicable from the day-to-day.
This posture towards technology stands in stark contrast to Japanese horror (J-horror) films coming out at the same time, like Ring by Hideo Nakata and Pulse by Kiyoshi Kurosawa, which focused on the anxiety inherent in technology. In Nakata and Kurosawa’s films, technology provides a conduit through which the supernatural past can make its presence felt once again in the “modern” world. In The Blair Witch Project, far from being a tool of the supernatural, the camera is never allowed to witness supernatural events happening as they happen and instead is only ever allowed to assess their consequences, suggesting that the supernatural can’t be tamed by the powers of modernity. This effect is made all the more suspenseful because of the ambiguous worldbuilding provided by the townspeople. Not a single story any member gives is wholly consistent with another, so the nature of who or what what the Blair Witch and their respective capacities is a mystery. One phenomenon hearkens back to one legend of the myth while another leans another way. With no rhyme or reason to the terror at play, the viewer is stuck, like the crew themselves, to experience the scares without knowing the stakes.
In this way, The Blair Witch Project, is a found-footage horror truly representing the sub-genre’s name. It’s a demonstration of the inability of film to mediate horror and provide enough of a gap to render it palatable and tame. Found footage, far from providing answers, only hints at the uncanny power of the abyss which gives no refuge or answers to anyone willing to seek them. By the time the film gets to the latter sections, the characters no longer find solace in their cameras because their ability to frame the situation is removed. The 16 MM and camcorder become interchangeable as the distinctions between what is reality and what is artifice becomes blurry before vanishing into a void with no answers. The behind-the-scenes footage becomes artifice and vice versa as the places to hide from the terror of the unknown disappear.
When the film approaches its end, the edits between scenes become more jarring and provide less information as to what’s happened in the “down-time”. It’s apparent that the characters are clearly filming less as they find themselves trapped and terrified in a situation they can’t comprehend, let alone control. Like the characters, the viewer gets no reprieves from the terrors, as the camera cutting off doesn’t mean respite as much as it means one awful moment is going to cut to a moment even worse in the future. The audience is strapped into a roller-coaster of nightmares that shows no signs of slowing down as the film races towards its finish.
While the directors, Daniel Myrick and Eduardo Sánchez, deserve credit for pushing such a low-budget idea to such great lengths, the reason the film is able to work at all, let alone so effectively, is because of the seeming veracity of every actor. Every member of the cast, whether it be the primary trio or the townspeople, has to put on multiple layers of performance, both presenting a “genuine” representation and an obvious façade on that representation that seemingly also stems from it. In other words, the actors have to present a fantasy off as reality and then pass another related fantasy off as artifice. Despite interviewing a plethora of characters, there’s never a point where this dichotomy fails or feels questionable. Actually, the spontaneous nature of the storytelling and dialogue feels so put together and cohesive that it reaches that magical place where it is both too unkempt to feel constructed but is also pointed enough to not come off as feeling totally left-field.
Even though the film might not be as terrifying as it was when it first came out in 1999, at the height of mainstream acceptance of the internet, its construction and “honesty” make it a compelling watch for anyone willing to invest seriously into its premise. The natural character interactions, commitment to authenticity, lack of polish, and unpredictable roller-coaster of scares of The Blair Witch Project are still rarities in the found-footage genre which it helped to popularize and make commonplace, and all serve as proof of just how special the film is.
REPORT CARD
| TLDR | The Blair Witch Project is proof that a solid idea and tight execution can be scarier than any polished Hollywood production. Despite being one of the first “found-footage” horrors, The Blair Witch Project is still one of the best. It effectively combines ambiguous worldbuilding, realistic performances, and quick and efficient pacing to deliver a horror that reveals our natural proximity to the terrors hiding beneath the veneer of civilization. Those viewers willing to suspend their disbelief and give in to the film can still find some of the terror that audiences back in 1999 first got a taste of. |
| Rating | A+ |
| Grade | 9.6/10 |
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