Nicholas Pineda’s debut feature, “Infirmary,” taps into the familiar terrain of found-footage horror, a subgenre known for its blend of documentary-style realism and suspenseful storytelling. The film, co-written by Pineda and Katy Krauland, follows a conventional formula by framing its narrative as recovered footage linked to a 2023 incident at the Wilshire Infirmary in Los Angeles. The storyline opens with a federal notice explaining that two bodies were discovered at the facility, and a person of interest remains at large, setting a grim backdrop for what unfolds.

The narrative primarily unfolds through two visual perspectives: stationary CCTV cameras lining the sterile, institutional corridors of the infirmary, and body-mounted cameras worn by security personnel. The main characters are Edward Yoon, a Marine veteran recently assigned to the post, and his contentious supervisor Lester Wooley. Both are tasked with monitoring the largely abandoned complex, which is described as part research lab, part mental hospital. The plot hints at controversial past medical experiments aimed at externalizing mental illness onto mannequins, alongside more brutal practices involving patient fatalities.

Throughout much of the film, viewers encounter prolonged stretches of uneventful footage, a choice that emphasizes monotony but also builds subtle tension. The limited point of view means the audience is left to imagine what lurks just beyond each frame, fostering a sense of unease. When moments of chaos and violence erupt, the camera work becomes disjointed and fragmented, amplifying the sense of disorientation and fear.

Supporting performances include Danielle Kennedy as Miss Downey, the affable yet enigmatic administrator who manages facility paperwork. Her portrayal adds a layer of understated complexity amid the unfolding dread. The film cultivates suspense through a recurring mystery figure obscured by a hoodie who intermittently appears on the monitoring screens, prompting questions about security protocols and the facility’s true state.

“Infirmary” demonstrates the strengths and limitations inherent in found-footage filmmaking. While the approach effectively generates a creeping atmosphere of tension and occasional scares, it is also marked by pacing that may feel sluggish to some viewers. The film does not break significant new ground within the genre but provides a decent entry point that balances routine surveillance with moments of genuine horror.