THE UNCANNY

When I was initially asked to co-write and direct THE UNCANNY, I almost declined. If the idea was to work convincingly, it would require that it be written with the emotional authenticity that can only be uncovered during an excavation of the darkest part of ourselves and the universe we inhabit. However, the more I considered its exploration of such themes as depression and suicide, the more I realized how horror seemed an ideal fit for its unearthing. It’s within this context that I became convinced that this was a story that had to be told.

From THE UNCANNY's earliest stages of development, I was drawn to an aesthetic that challenged preconceptions of how these stories should be portrayed. I saw the world of THE UNCANNY in the vibrant pastels and jewel tones found in a confectioner’s shop and sprinkled with characters who retained the ability to laugh while facing internal struggles. My own experience confronting depression informed me that those in the trenches exert what power they have to wrap themselves in comforting make-believe worlds.

Arguably one of the most unique and personal aspects of the production was directing my mother. A mother-daughter creative partnership is rare in cinema, which is unfortunate given the acute awareness and knowledge of the inner workings we have of each other. If watching my mother portray a character whose unraveling summoned in me some of the most wretched feelings imaginable, the experience of directing her was compensated by the creative language we share.

With an outstanding cast and crew from sixteen nations, representing every inhabitable continent, such a variety of creative minds added a culturally rich and diverse perspective and authenticity to our narrative, mirroring the world we live in.

- Clara Gabrielle