Private Project


A Southern Gothic thriller that follows a homeless woman and a young, upper-middle class girl as their lives tragically intertwine.

  • Justin T. Malone
  • Bailey Inman
  • Justin T. Malone
  • O'Shay Foreman
  • Justin T. Malone
  • Noelle Beard
  • Nathan Chin
  • Lauren Gunn
    Key Cast
  • Linda Jackson
    Key Cast
  • Zach Church
    Key Cast
  • John Sneed
    Key Cast
    "Police Officer #1"
  • Tamara Wright
    Key Cast
    "Police Officer #2"
  • Joy Murphy
    Key Cast
    "Hannah's Mom"
  • Project Type:
  • Runtime:
    13 minutes 50 seconds
  • Completion Date:
    May 1, 2021
  • Production Budget:
    9,500 USD
  • Country of Origin:
    United States
  • Country of Filming:
    United States
  • Language:
  • Shooting Format:
  • Aspect Ratio:
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
    Yes - University of Memphis
  • Southern Oasis Film Festival
    Knoxville, TN
    United States
    May 14, 2022
    Winner, Best Student Film
  • Southern Film Festival
    La Grange, Georgia
    United States
    August 28, 2021
    World Premiere
    Official Selection
  • Indie Memphis Film Festival
    Memphis, Tennessee
    United States
    October 22, 2021
    Tennessee Premiere
    Official Selection
  • Franklin International Indie Film Festival
    Franklin, Tennessee
    United States
    November 12, 2021
    Official Selection
Director Biography - Justin T. Malone

Justin T. Malone is a rising Southern filmmaker with an eye for the grotesque, profane, and darkly humorous. Working in the Southern Gothic literary tradition, Justin's films typically focus on working class rural Southerners like the people he grew up around in West Tennessee.

ROADKILL, an expressionistic crime thriller, is Justin's 6th short film. It explores the multiplicity of experiences between the oppressed and the privileged in contemporary Southern society.

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Director Statement

I grew up in rural Tennessee, in a place where lives are lived hard and short. Through good luck and hard work on my parents’ part, we climbed the social and financial ladder and when I was 14 we moved to an affluent town outside Nashville, a place where teenagers drive luxury cars and dream of escaping from their “oppressive” hometowns. I don’t care to waste time condemning children who didn’t know better and are probably mostly decent adults now, but I did grow to see something ironic in the way that the people who often have the most derision for “The South” (whatever that means) are the ones who benefit the most from its various inequities—social, racial, and economic. ROADKILL is a film that seeks to investigate these ironies and challenge its viewers to think about the way the middle and upper classes in America often fail and unintentionally victimize the less fortunate.