If a low-budget mockumentary movie smash called The Blair Witch Project (and its lesser-known predecessor, The Last Broadcast) had never existed, then Swedish filmmaker Carl Sundström's found-footage horror feature Reportage November might hold more interest. As it is, this is a reprise of familiar stuff. Cliches of this genre are now so established that if Leslie Nielsen were still around, he could star in a goofy parody.
In the Scandinavian hinterlands, the disappearances of a young mother and her baby in the woods cause a sensation, more so when the woman reappears in grotesque, zombie-decomposition condition before expiring in the hospital. Four young Stockholm journalists (or wannabe journalists), led by ambitious Linn Söderqvist (Signe Elvin-Nowak) take camping gear and cameras into the field to try to find the missing infant and solve the puzzle while streaming their progress to online servers, a murky corporate-media deal put together by their shifty cinematographer.
What happens next in the viewfinders is mainly surprising because of how unsurprising it is. Members of the team vanish in the dark woods; others run around in panic calling their names. Strange occult-ish symbols appear on the trees. There is a dilapidated house in the middle of nowhere that looks exactly like the dilapidated house in the middle of nowhere that figured in the climax of The Blair Witch Project.
When Algonquin Indian superstition is mentioned, regular horror viewers should be tipped off at the umpteenth reprise of "Wendigo" lore. Buyers may appreciate that the key ingredients of minimalist found-footage-mockumentary chillers tend to avoid sex, nudity, or explicit gore, so there is that PG-13-level appeal to potential buyers.
That said, language in the original Swedish seems to favor a certain universal f-word, which the subtitles (almost invariably) tone down to "hell" or "damn" in English. So the minor side-theme in Reportage November, that the Media Cannot Be Trusted, perhaps should count for something. Optional.