Adelaide
November 2-3, 2024
Adelaide Showground
Australian filmmaker Caitlin Koller is making waves with her feature film debut, 30 Miles from Nowhere; a US indie horror that is out digitally on March 5 after premiering at Monster Fest last year.
“When I was a child, I was very easily scared,” Koller tells Supanova. “I liked scary stories, but having a vivid imagination meant that I would get nightmares from all types of scary movies, television shows or novels.”
“Looking at the covers of the horror film section at my local video store would make me shiver, especially titles like Hellraiser, Brain Dead and Child’s Play.”
“To combat this, in my teen years I decided to try to desensitise myself by watching as many horror films as I could stomach in a very short amount of time, and it worked. I watched classics like Scream, The Ring, A Nightmare on Elm Street, and Candyman.”
There was something else within the stories that drew her to the genre and her eventual career path.
“I adore horror because it has a consistently higher level of female protagonists than most other genres and gives them character arcs beyond finding their soul mates,” she tells.
“They were characters who I could empathise with and be inspired by as they fought, stood up for themselves, overcame violent obstacles and discovered confidence in themselves.”
Completing an Honours degree in Film and Television at Melbourne’s Swinburne University in 2012, Koller struck gold with her graduate film, Maid of Horror, which crossed international borders, and was played in cinemas around the globe, before establishing a strong presence with short film Blood Sisters.
Koller then left Australian shores for her first feature film in Chicago, directing 30 Miles from Nowhere, a film that pays tribute to so many classic storylines, but develops its own unique approach with genuine surprises and subtle, humorous undertones.
“30 Miles from Nowhere is a mix of genres; horror, thriller and comedy, all of which I love to watch and work in, so that immediately piqued my interest,” Koller says.
“When I read Seana Kofoed’s script, I was delighted by the dialogue and character interplay, which felt naturalistic and fresh. Her scriptwriting puts a lot of effort into the slow-burn creepiness as well as the characterisation, which really grabbed my attention and lead to me wanting to work on such an interesting and original take of an icon storyline.”
“Furthermore, the story was well paced and populated by diverse characters, which I believe are important elements in contemporary storytelling.”
Following the story of five college friends who return to Wisconsin after their estranged friend’s death, they soon find their reunion more of a terrible fight for survival.
“Seana Kofoed was a great writer to work with. She was able to accept notes on her script and in essence kill her darlings,” Koller explains.
“Seana and the other producer, Kelly Demaret, are very tenacious, enthusiastic and supportive people to work for. We had a constant ongoing and open dialogue, which meant that all stages of production ran smoothly and felt creatively fulfilling.
“Working with such experienced actors was initially a steep learning curve, as they were familiar with the directorial style of the American film and television industry, and I was not.
“But reaching a common understanding allowed us to have really fruitful discussions about character, and the trust formed between us allowed the actor’s opportunities for improvisation and on-set creativity. I feel very lucky to have had such a great experience for my directorial debut.”
Working overseas also allowed Koller to analyse the differences between the US and Australian film industries.
“In the American industry there is no difference between making a horror film and any other kind of indie film – except for the amount of fake blood used on set,” she says. “Horror films are much less welcomed and supported in Australia.
“Unfortunately, the Australian public have a bit of cultural cringe when it comes to our own films, and the Australian film industry isn’t the supporter of genre films that it once was.”
“Hopefully, the tide is changing with the notable exception of Jennifer Kent’s The Babadook, and I hope many more females lead genre films, from behind the camera and in front of it, are put into production.”
In saying that, Koller’s 30 Miles from Nowhere has the potential to bring the horror a little closer to home, especially with what she has planned for the near future.
“I have a few feature films currently in pre-production, one of which, Slammer Savages, a post-apocalyptic woman-in-prison cannibal film, I pitched at Stranger With My Face,” Koller reveals.
“I also have a period piece set in The Depression-era Australia that concerns a famous Australian folklore monster. Horror is the genre I keep coming back to because it surprises me about the ways in which storytelling can evolve and reflect contemporary society.”
From slasher to homegrown myths and legends, Koller intends on displaying her range through a diverse filmography, though reflects on her early days as an aspiring director with a piece of advice for newcomers.
“My advice to aspiring filmmakers is to write about what interests you. Find scripts that speak to you and that get you excited to wake up in the morning. Make short films that you would like to watch yourself and make them with whatever funds, big or small, that you have,” Koller says.
“Find your passion and surround yourself with other people who are equally passionate about what they do, whether it’s behind or in front of the camera. Give hardworking people from all backgrounds new opportunities and chances to prove themselves beyond their current level of experience and be the change you wish to see in the film industry.”
You can find more information on 30 Miles from Nowhere via the film’s official website.