Zebra Hooves (2026) Film Review – Unnamed Footage Festival

David M. Dawson has become a regular face at the Unnamed Footage Festival, with his previous titles Leech and Flesh Game previously screened. Dawson is a difficult creator to pin down, with each of his works offering a slow-burn up to an explosive finish; yet it is always the personas and themes he tackles leading up to that moment that make his films so utterly unforgettable and unique.

Dawson calls Zebra Hooves his magnum opus, in what the festival has dubbed ‘incel noir’ style of films. Both of these feel like apt descriptors, but we’re getting ahead of ourselves.

Zebra Hooves follows David, played by frequent collaborator Jordan Acosta, who is plagued by medical problems, including high blood pressure, stress, and impotency. The doctor, believing the symptoms are partly psychosomatic, advises him to make a video diary, under the implied reason that it will be therapeutic. David, however, conditions start to worsen dramatically, including bleeding from the nose and mouth, and experiencing hallucinations.

David certainly feels disenchanted and angry with the world, hence the ‘incel noir’ tag, but it is also relatable for those who have found themselves at odds with mental health and the medical system. His crassness, with a degree of uncertainty, further pushes him forward as an ‘everyman’ for the type of persona many would equate with the disenfranchised, terminally online type. There is still always lingering hope, and what stands out is David’s general kindness to others, including a female friend. This may seem contradictory to the incel tag, but the term has become watered down, and from the perspective of people who lean on the label as an insult, would be comfortable labelling him just that.

Essentially, what fans get is a fascinating character study that expresses many modern-day frustrations felt by many with growing economic pressures, and more reasons to distance themselves and go solo; David often laments how much money everything costs when looking back at his past with his now-deceased father, who was able to afford a happy life for his family that David feels was taken away.

All this framing may make it seem as though Zebra Hooves doesn’t fit the horror moniker, and it admittedly won’t for many, much like Dawson’s previous work. Yet, if the sort of existential gloom permeates the viewer as intended, there is undoubtedly something sinister and haunting here. David’s constant bleeding and fighting with his blood pressure checker is such an uneasy, intimate moment to witness. The final sting here is also great, coming full circle from the intro in a gleefully disturbing, bloody manner.

Still from the 2026 movie Zebra Hooves

David M. Dawson is one of the best indie directors working right now; his minimalist found footage films delve deep into the darkest corners of humanity with an awareness and frankness few have captured in the modern landscape. His work, to me, seems complementary to the better-known films of Joel Potrykus (Buzzard, Vulcanizadora, Relaxer) for those familiar with them and who want to know what to expect tonally.

With all the praise I can throw at Zebra Hooves, I am also fully aware it won’t be for everyone. Still, those who vibe with the film will find it to be a poignant and haunting reflection of our times and an unforgettable viewing experience.