Experiencing Interruptions?


Mackenzie, a troubled but daring teenage girl, is sent to live with her uncle in Juneau, Alaska. She longs for her struggling, absent mother, but as her mom’s phone calls become less frequent and her uncle’s care is not what it seems, she must flee. Her only thoughts are to escape her uncle’s grasp and contact her mother somehow, but as she plunges deeper into the Alaskan interior she is suddenly helplessly alone. A chance connection with a loner backpacker, Rene Bartlett, proves to be her only lifeline. As Mackenzie shadows Bartlett across the last frontier, she thwarts his efforts to cut her loose until Bart has no choice but to help her survive in the wilderness. Against the backdrop of a spectacular Alaska landscape, they discover the redemptive power of friendship. Mackenzie and Bartlett prove to be the unlikely salve for each other’s scars, until the damage Mackenzie carries with her threatens to destroy her newfound sanctuary. Returning to civilization, Mackenzie is once again at risk of capture by her uncle as he hounds with manipulative calls and messages. When Bartlett finally discovers her alarming secret, he must make a bold choice to take real responsibility for Mackenzie and help her escape her traumatic past and return home.

  • Frank Hall Green
  • Frank Hall Green
  • Julie Christeas
    Sleepwalker, Monogamy, Seeds of Hope, Blood Stripe
  • Schuyler Weiss
    Sleepwalker, Seeds of Hope
  • Joseph Stephans
  • Frank Hall Green
    Remittance, Allegiance, 1-900 Tonight, One Night,
  • Christine Vachon
    Boys Don't Cry, I'm Not There, Far From Heaven
  • Ella Purnell
    Key Cast
    Maleficent, Kick Ass 2, Intruders, Never Let Me Go
  • Bruce Greenwood
    Key Cast
    Star Trek, Star Trek 2, Super 8, Flight, 13 Days
  • Brian Geraghty
    Key Cast
  • Ann Dowd
    Key Cast
  • Nolan Gerard Funk
    Key Cast
  • Diane Farr
    Key Cast
  • Project Type:
  • Genres:
    Thriller, Adventure, Drama, Outdoors, Nature, Womens Issues
  • Runtime:
    1 hour 38 minutes
  • Completion Date:
    May 1, 2014
  • Country of Origin:
    United States
  • Country of Filming:
    United States
  • Language:
  • Shooting Format:
  • Aspect Ratio:
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
  • Hamptons International Film Festival
    East Hampton, NY
    October 10, 2014
  • Woodstock Film Festival
    Woodstock, NY
    October 16, 2014
  • Austin Film Festival
    Austin, TX
    October 21, 2014
  • Savannah Film Festival
    Savannah, GA
    November 2, 2014
    Best Director
  • IndieMemphis Film Festival
    Memphis, Tennessee
    October 31, 2014
  • Covey Film Festival
    Thomasville, GA
    November 1, 2014
    South Georgia
  • Naples Intl Film Festival
    Naples, FL
    Florida Premiere
  • Williamstown Film Festival
    Williamstown, MA
    Massachusetts Premiere
  • Virginia Film Festival
    Charlottesville, VA
    Virginia Premiere
  • Eugene International Film Festival
    Eugene, OR
    Oregon Premiere
    Best Feature
  • River's Edge International Film Festival
    Paducah, KY
    Kentucky Premiere
    Best Feature
  • Wild Rose Film Festival
    Des Moines, Iowa
    Iowa Premiere
    Best Feature, Screenplay, Cast, Music, Cinematography, Director
  • Ft Lauderdale International Film Festival
    Ft Lauderdale, FL
    Best American Indie
  • Napa Valley Film Festival
    Napa, CA
    California Premiere
  • Cucalorus Film Festival
    Wilmington, NC
    North Carolina Premiere
  • Starz Denver Film Festival
    Denver, CO
    Colorado Premiere
  • Cinema St. Louis Film Festival
    St. Louis, MO
    Missouri Premiere
  • Anchorage Film Festival
    Anchorage, AK
    Alaska Premiere
  • St. Augustine Film Festival
    St. Augustine, FL
  • Spokane Intl Film Festival
    Spokane, WA
    Washington Premiere
    Best of the Northwest, Audience Award
  • New Jersey Film Festival
    New Brunswick, NJ
    New Jersey
    Best Feature
  • Praxis Film Festival
    Raleigh, NC
    Best Feature
  • Beloit Intl Film Festival
    Beloit, MS
    Mississippi Premiere
  • Sedona Intl Film Festival
    Sedona, AZ
    Arizona Premiere
  • Washington DC Independent Film Festival
    Washington, D.C.
    D.C. Premiere
  • Richmond International Film Festival
    Richmond, Virginia
    Best Feature, Best Actress
Director Biography - Frank Hall Green

Frank Hall Green is a writer/director and producer and partner at Catch & Release Films. His directorial debut feature WILDLIKE stars Ella Purnell, Bruce Greenwood, Brian Geraghty, Nolan Gerard Funk and Ann Dowd, and was filmed across Alaska on 35mm in Alaska. Produced by Frank, Christine Vachon/Killer Films, Tandem Pictures and Joseph Stephans, it comes to theaters through Amplify Releasing in September 2015. Along with producer Tom Heller (FOXCATCHER, PRECIOUS, 127 HOURS, MUD), Frank is a partner of the development fund and production company Catch and Release Films in New York. They are currently producing the adaptation of BOY21 by Matthew Quick (SILVER LININGS PLAYBOOK) to be directed by Lasse Hallstrom (WHATS EATING GILBERT GRAPE, CIDER HOUSE RULES). Frank is also a producer on REMITTANCE, the sophomoric feature of writing/directing team Joel Fendelman and Patrick Daly (DAVID). Recently, he produced GHETTO KLOWN on HBO, the award-winning one-man show of John Leguizamo.  He was a producer on ALLEGIANCE starring Aiden Quinn and 1-900-TONIGHT starring John Turturro. Frank cut his teeth producing far too many short films and has an MBA from NYU’s Tisch School of Film & Television. Before NYU’s Graduate Film Program, Frank worked with start up companies and in Venture Capital. He is also an alumnus of NYU’s Gallatin School, an avid backpacker and a member of MENSA.

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Director Statement

As the writer of WILDLIKE, I have been very close to all facets of this story for some time. I delved into the landscape of Alaska and studied the trauma that girls and women endure from childhood sexual abuse. I travelled to Alaska and backpacked across Denali National Park. I traversed the state by car, wandered into its woods getting lost, seeking adventure. I have also ventured close to the main character Mackenzie’s pain. I have listened to victims and read countless stories of female sexual abuse of all kinds, both young girls and women. I know the statistics are of epidemic proportions. With difficulty, I have listened to and read the accounts of numerous offenders, and their perhaps incurable behavior. I have witnessed victims’ healing, and the recalibration of a woman’s relations (platonic and romantic) to men. Marrying these themes and emotions with the landscape of Alaska bore the adventure and drama of Wildlike.

Growing up, I cherished adventure, whether by fortunate or unfortunate circumstance. Even today, my dreams are consistently adventures. Looking back, I first subconsciously wrote a story of adventure, exploring themes of freedom, escape and innocence. Then, consciously, I asked myself why do I and others seek out adventure? What do people run away from? Or run away to?

I had been moved by a New York Times editorial on female sexual abuse, touching on all the subtle aspects of misogyny in our society. The inescapable pain drove innocent girls and injured women to run away from their perpetrators, themselves and their problems. When I dug deeper into sexual abuse and the offenders, I found other runners, the guilty party, equally pained and often running and trying to escape as well. At this point I knew I wanted to explore the idea of running from the fear of one’s own pain, both as a victim and a shamed person, guilty and afraid of their own potential. Thus Mackenzie’s adventure has meaning.

The character Bartlett is also on a journey of pain, running from acceptance and the grief of a painful loss. As a final step in the story, adventure and journeys of the soul eventually lead to encounters with other people. When one encounters the right person or group of people, that is the point at which recovery can begin. As a storyteller I wanted to emphasize the why of adventure, and the inevitable questions we must answer regardless of how far we travel and what journeys we embark on. In fact, it can be these journeys themselves that reconnect us to others and provide answers.

Alaska is a uniquely remarkable place I have come to know since 2003. Similar to its boundless mountains, glaciers and animals, the state and people are friendly yet tough and straightforward. The culture and geography is as nondiscriminatory and unpretentious as nature itself. It immediately captured my cinematic sensibility on a backpacking trip to Denali with my wife. On a train ride back across the state, stories unfolded as we passed people, towns, remote abodes and a vast expanse of wilderness between them. It was on an extended research trip to Alaska when I read of the state’s specific molestation rate and accountability problems. I immediately set out to write this true-to-life story, and set it in Alaska. It became clear that there were two frontiers in this film – that of Alaska, and that of innocence.

A state with 700,000 people scattered over an area twice the size of Texas, Alaska is a vast and impressive land, not just to gape at the beauty of, but to disappear into – for victim and offender alike. It is the least religious state in the nation. You are undisturbed. The city of Juneau is trapped by mountains and sea, approachable (or escapable) only by plane or boat. Alaska is also the only state we still refer to as a frontier – a place yet unaltered, but ironically destined to be despoiled.

The film’s subject matter was difficult to research, digest and “sit-with.” Developing the characters and attempting to understand their own experiences (victim, aide and offender) was challenging and usually uncomfortable. Despite the difficulty of handling the subject, I feel that young female sexual abuse is under-represented and misrepresented in film. Unlike what may be seen in previous movies, perpetrators are seldom overtly violent, and the incidents are often non-dramatic. It is a quiet, secretive event that happens before anyone knows, or can do, anything about it. Often the victim is unsure of whether a crime has even occurred, and generally it is unreported. It exists in many disguised forms, undisturbed in hidden corners of everyday life. Furthermore, the interior effects on the victims are complex and become extremely deep-rooted, usually moments after the experience. On film, I insisted it be presented authentically and with deliberate diligence, in order to report the truth. It could not be anything less than a difficult viewing experience.

Likewise, the healing journey that Mackenzie embarks on had to be told honestly. Reactions vary greatly, but the hard truth is that there is no full recovery from sexual abuse. Mackenzie’s trip with Bartlett is only the beginning of a life-long process. In research, it was clear that first damage is done with a secret kept or even a memory dislodged. Then, often with young girls, sexual development is askew, perhaps turning to promiscuity, misbehavior and manipulation.

Still, Wildlike is not a story of abuse, but rather a story of recovery. Equally important to reporting the truth around female sexual abuse is what a victim does next. Silence and secrecy are far too common and instinctual. Escape, mentally and physical, is standard, and coming back, returning to one’s place of innocence, is not possible. Mackenzie is but one example.

Wildlike is about the relationship between the physical journeys we take and the journeys of discovery we all must make within ourselves. It is about people who transcend the dark hands they have been dealt and find a way to trust again. I believe that adventure and the wilderness has the power to reawaken our humanity and, if hand in hand with the right people, can help heal oneself.