The Unsettling and Horrific Reality of “The Final Frame (2025)”
One of the most uncomfortable and scariest crimes anyone can face in this day and age is stalking. So it only makes sense that someone make a found footage horror film that revolves around this very notion. And who better than József Gallai to do so? Unlike his other films I’ve reviewed, The Final Frame doesn’t revolve around a young woman going off into the middle of the woods only to run into supernatural phenomenon or demons. Instead we’re treated to a classic style found footage film following what appears to be a stalker tracking down multiple different women and breaking into their houses. We even see his collection of house keys along with a myriad of different videos featuring the women he followed. And from his appearance, you’d think that his intentions for stalking these women are anything but good. But as the old saying goes, looks can be deceiving.
Another element that sets The Final Frame apart from Gallai’s other films is its title. Gallai’s other films have very self-explanatory titles. A Stranger in the Woods revolves around a young woman going out to meet a stranger in the woods and The Black Eyed Children (2025) addresses the supernatural phenomenon of The Black Eyed Children. Now, what do you think you’re walking into when you watch a film titled “The Final Frame?” I fully expected a detective/crime thriller where a police officer or private investigator reviews a series of tapes that fit into a tangled mystery that ultimately results in a horrifying revelation. However, what we get is more reminiscent of the short film “The Protector” which is part of the horror anthology Midnight Feature. Both are found footage horror films that surround stalker protagonists and are seriously uncomfortable to sit through. However, where the two films differ is their protagonist’s actions. Whereas “The Protector’s” protagonist is a serial creep, The Final Frame’s protagonist’s intentions are far more benign.
One of József Gallai’s strongest suits is atmospheric horror. Both A Stranger in the Woods and The Black-Eyed Children are perfect examples of how chilling and eerie he can make any seemingly calm and peaceful environment look. And The Final Frame is no exception. Despite not taking place in a secluded wooded area, Gallai nonetheless is able to make even a seemingly ordinary city seem like a hell scape trapped in an eternal limbo. We see imagery reminiscent of the Silent Hill games, complete with a foggy, grey atmosphere that hides the world we see every day to give it a far more sinister feel. This is complemented by a mostly overcast sky to make the whole city feel like it’s been swallowed up by a ghost.
Unfortunately, this film shares the same issue I had with Nomadland. And what may that be? Pacing. The first and second act comprise entirely of seemingly random bits of footage. You’d think there would be some recurring scare or motif that would keep your attention, but all you see is just someone following different women. And while that in of itself is scary, I feel that most would turn away from the film after the first twenty minutes or so from impatience. Maybe some might sit through just to see the ending, but they need a more concrete reason to reach that ending not just sheer curiosity alone.
Despite this, it’s safe to say that József Gallai’s The Final Frame is by far his most unique film to date. By breaking away from his usual story beats, Gallai presents himself as a versatile filmmaker who is not afraid to take new risks. Do all of these risks pay off? Well, I’ll let you be the judge of that. But I can’t deny his creativity when it comes to seamlessly combining elements of traditional found footage with his own personal cinematic style. If you decide to check The Final Frame out, maybe be on the look out for any suspicious-looking men following you with a camera.
