‘Horror in the High Desert 3’ Review – A Tense, Creepy Exercise in High Strangeness

When it comes to found footage horror, films that manage to successfully deliver scares while also following characters that feel sincere within the “true-to-life” conceit of the subgenre are an infrequent breath of fresh air. It’s even rarer to find a series of films that delivers on these fronts so consistently. Yet, for many die-hard found footage fans, writer, director, and producer Dutch Marich’s Horror in the High Desert series has served up just that over the last 3 years. Now, with the long-anticipated release of Horror in the High Desert 3: Firewatch, Marich continues to masterfully build out his mysterious universe in which unexplained disappearances and deaths, encounters with otherworldly phenomena, and voyeuristic accounts of terror are the norm.

The film follows Oscar Mendoza (Marco Antonio Parra), a man determined to uncover the truth behind the incidents that befell Gary Hinge (Eric Mencis), Minerva Sound (Solveig Helene), and Ameliana Brasher (Brooke Bradshaw) in the first two entries. As fires rage in Western Nevada and state officials remain on “fire watch” duty, Oscar sees this as a chance to go deeper into the Nevada wilderness than anyone before, hoping to uncover the truth behind the strange phenomenon that plagues the area. Keeping in line with Marich’s previous films, Firewatch is structured around entries from Oscar’s video diary as he follows clues pointing him to key locations from previous films and beyond, bringing him progressively closer to a mystery that is only deepening.

While the formula of the High Desert films may feel familiar to some by now, Marich opts to subvert viewer expectations in various ways throughout the third entry—and to great success. Diverting from the measured build of the first film and the relentless dread of the second, Firewatch takes a more playfully calculated approach to its scares, toying with audience expectations with delight. I found my heart rate increasing and fists clenching multiple times while even just trying to spot potential scares in the background of unassuming shots or waiting for jump scares that I was certain were coming. Static shots are used to great effect in these moments, notably ramping up the anticipatory tension for viewers who may feel at this point feel like they can predict Marich’s next move (spoiler alert: you will likely be wrong multiple times).

That’s not to say that Firewatch is narrowly set on pulling the rug out from under viewers as scares go. Elsewhere, the chills are quite direct in their execution, whether stemming from an unsettling voiceover courtesy of an unseen rail operator or a claustrophobic journey into an abandoned mineshaft. The beauty of Firewatch is that doesn’t just rely on one trick, instead finding novel ways to keep viewers on edge by creating a uniquely sensory horror experience. Those who take issue with scares that tend to leave much to the viewer’s imagination (see The Outwaters) may disagree here, and understandably so; Firewatch is admittedly less bombastic than the previous sequel, Minerva. Still, if you’ve made it this far in the franchise, you’ll likely appreciate Marich’s evolving approach to found footage terror.

Beyond the scares, Firewatch notably succeeds in Marich’s careful characterization of his protagonist. Oscar is not simply an opportunistic mystery-chaser hoping to inject himself into the cases, nor is he another unwitting pawn in the phenomenon’s game. In fact, we find that Oscar’s struggles with loss, mental health concerns, and substance abuse ultimately led him to the High Desert with great intention. It becomes evident early on that Oscar’s investigation is as much about uncovering the truth behind the phenomenon as it is about reconnecting with a greater sense of purpose in his life.

One particularly touching moment sees Oscar reflecting on his personal trials, disclosing that the High Desert mysteries have sparked his “curiosity in the world again.” This vulnerable disclosure is not only thematically key to Firewatch, but also the whole of Marich’s High Desert series, as it succinctly speaks to the core of what often draws individuals to unexplained phenomena to begin with. Indeed, when life feels devoid of joy and meaning, the mysteries of the world can be especially alluring. They suggest, even if only for a moment, that maybe there is something more to existing than the day-to-day woes and mundanities we often come to accept without question as adults. To this end, Parra’s performance effectively captures the childlike wonder, charming abandon, and renewed zest for life that feels authentic to many folks who would happily traverse the unknown for even the slimmest chance at experiencing something truly novel and awe-inspiring—even in the face of risk.

As with the first two films, Oscar’s footage is intercut with narration from reporter Gal Roberts (Suziey Block, a comforting and anchoring presence in the franchise) and interviews with both new and familiar players in the High Desert series. While the use of amateur actors can at times be a detriment to found footage efforts, Firewatch benefits from the added authenticity these players bring to the story. I especially appreciated the return of Beverly Hinge (Tonya Williams Ogden), which allows Marich to further comment on the detrimental role true crime aficionados can play in the lives of people living through unsolved cases in real-time. Moments like these serve to effectively weave thematic and narrative threads across the films, while even inspiring viewers to revisit past films. In fact, one scene reveals a chilling blink-and-you-miss-it moment from Minerva not previously caught by even the most eagle-eyed viewers, further highlighting Marich’s admirable attention to detail in the series.

It should be noted that by the film’s closing moments, viewers are admittedly left with more questions than answers, which may put off those hoping for a unifying explanation for the series’ unsolved mysteries at this point. With a plan to release at least two more films in the series, it doesn’t appear that Marich is in a rush to reveal all of the High Desert’s secrets anytime soon. Still, for those enjoying the increasingly bizarre and terrifying trek through his universe, Horror in the High Desert 3: Firewatch is an effective and confident entry for Marich that deepens the overarching mystery while keeping the intrigue as high as the strangeness.