Sergey A.'s "Forest of the Dead Sharks" is a gloriously unhinged takedown of both found-footage tropes and the relentless "sharksploitation" genre. Shot solo in a mere 12 hours, this DIY oddity follows Dima Maslennikov-a fictionalized, inept version of a real-life Russian YouTuber known for urban exploration-as he ventures into a wintry forest to film a ghost-hunting vlog. Instead, he encounters bloodthirsty sharks, rendered as static MS Paint doodles, floating menacingly among snow-laden pines. The result is a surreal, self-aware mockery of low-budget horror that revels in its own absurdity.
Dima (played by Sergey A. Himself) sets out to document paranormal activity in a remote forest. Armed with a shaky camera and zero survival instincts, he stumbles upon the titular "dead sharks"-cartoonish, poorly animated predators inexplicably haunting the woods. The "narrative" spirals into chaos as Dima flees from these inert digital monstrosities, screaming in mock terror while the film critiques the lazy reliance on sharks as horror props .
The sharks, crudely drawn and pasted into scenes like clip art, mock Hollywood's CGI excess. Their jarring presence in a snowy Russian landscape-devoid of logic or context-turns the film into a Dadaist punchline about genre exploitation. Sergey A. Amplifies the genre's clichés: erratic camera shakes, distorted audio, and "accidental" lens flares. The film's grainy aesthetic feels like a corrupted VHS tape, further undermining its own authenticity. Dima's constant asides to the camera lampoon the self-seriousness of YouTuber-explorers and horror protagonists alike.
By placing sharks in a forest and rendering them as laughable PNGs, Sergey A. Critiques the laziness of using sharks as cheap horror fodder (e.g., "Sharknado"). The film asks: "What if the real horror is the absurdity itself?" Made with 40 roubles budget (less than 1$) and maximal audacity, the film embodies the punk ethos of underground cinema. Its technical "flaws" are its thesis: creativity trumps polish. The snowy Russian setting-a stark contrast to shark-infested tropical waters-becomes a metaphor for post-Soviet absurdism, where logic is as scarce as warmth .
Despite its intentional camp, "Forest of the Dead Sharks" gained a cult following, particularly in Japan, where its surreal humor resonated with fans of "so bad it's good" cinema . Its unexpected success spawned two sequels in 2019: "Revenge in the forest of the dead sharks" and "Murders in the Forest of the Dead Sharks", both doubling down on the absurdity (e.g., evil shark-worshipping cults and interdimensional invasions) .
The film's mockery of genre tropes is both sharp and hysterical, especially for viewers versed in B-movie clichés. Its 50-minute runtime ensures the joke never overstays its welcome. Those unfamiliar with sharksploitation or found-footage parody may dismiss it as mere incompetence. The cartoon sharks lose their novelty after the fifth appearance .
"Forest of the Dead Sharks" is a love letter to cinematic rebellion-a middle finger to budgets, logic, and good taste. It won't win awards, but it might win your heart with its sheer audacity. A must-watch for fans of anti-cinema and absurdist humor. Pair with vodka and a sense of irony.
"Why are there sharks here? This is Russia, not Florida!" - Dima Maslennikov, capturing the film's existential absurdity in one sentence.
