Ehrland Hollingsworth's DOOBA DOOBA is the kind of eerie experience that sneaks up on a person, crawling unsuspectingly into the darker corners of one's unconscience. Unraveling primarily via surveillance cameras set up around the house where aspiring singer Amna (Amna Vegha) has come for an overnight babysitting job, the film feels purposefully homegrown, like a coarsely edited mixed-media project traveling straight to the hellish bowels. Similar to the lingering effect 2023's SKINAMARINK held but a bit more accessible in its narrative storytelling, DOOBA DOOBA turns what might have been a deficit for most conventional pictures—its semi-amateurish, rough-around-the-edges aura—into perhaps its most shining attribute. By the end, we buy into Hollingsworth's playfully morbid master plan, and the auspiciously macabre trail of breadcrumbs he's left for us along the way.