In the vibrant world of independent filmmaking, horror has emerged as a noteworthy genre, despite its limited representation in the Australian film industry. Out of 44 films Australia released to cinemas during 2024, would you believe only five of those were horror films? This statistic paints a pretty vivid picture of the uphill battle that indie horror creators are up against. As an example, Kate Separovich has experienced a tremendous metamorphosis, personally and professionally, in her journey within this genre.
Independent horror producer Kate Separovich only got started with spooky projects two years ago. The real shocker was that she hasn’t always liked horror! Her perception changed completely, forcing her to seek out sub-genres and figure out what sparked her creativity. The last three years have been an incredible, wonderful ride for me. I’ve worked really hard to understand this world of horror, every vein and sub-genre, dissecting what truly resonates with me—what I enjoy, what I’m not crazy about.
The Landscape of Australian Horror
Australia’s horror films have had little output in the Australian cinematic landscape, with only a handful of titles rising up and becoming well-known hits. Wolf Creek and Talk to Me are real successes as Australian horror movies. They have entertained, wowed, moved and inspired audiences, and they have made tangible, lasting, measurable impacts. These films are indeed success stories, highlighting that this unique genre can not only survive in Hollywood, but flourish even with stiff competition.
Helen Tuck, another producer transitioning from a career as a hair and make-up artist, emphasized the importance of diversity in production projects. “We’ve got some projects on the slate that are quite deliberately not horror because we don’t want to get pigeonholed in that space,” she stated. Tuck’s detailed work designing the prosthetics team for “Talk to Me” demonstrates her passion for unique storytelling through the genre.
The Making of Welcome Back to My Channel
Another recent addition to the growing Australian horror canon is Welcome Back to My Channel, created by Jill Kingston. The movie follows a social media influencer couple whose personal charm is put to the test by a primal horror while they’re tenting it in the Australian outback. Kingston developed the entire project on a shoestring budget of $70,000. He shot it in 13 days, an ambitious creative resourcefulness you might expect from an indie production.
“Horror movies generally play to a very young crowd, between 15 and 20 years old,” Kingston observed. Looking back on her own formative experiences, she noted, “I was that kid that saw films at an inappropriate age. It’s her personal connection to horror that galvanizes her creative vision. It not only leads her to create fun, creative content for the youngest viewers to enjoy.
Creative Constraints and Opportunities
As a director known for films such as “The Tunnel,” “Deadhouse Dark,” and “The Crossing,” Enzo Tedeschi understands the intricacies of indie filmmaking. As he explained, many artistic short films and commercially viable feature length ones usually take at least 20 days of shooting. If history is a guide, some of the best surprises come from the smallest-budget productions. Separovich commented, “Low budget filmmaking is my happy place. With limitations come more imagination and innovation.”
Their singular challenges of having to work within micro budgets often bred ingenuity in the storytelling and the production techniques. Separovich made sure to stress the impact of sound in horror films. As he put it, “A fantastic sound mix in a horror is enough to completely boost it and save that movie.” This revelation speaks to how deeply technical mastery plays a role in creating compelling horror experiences.
