Jordana Stott delivered an apocalyptic and cinematic journey through a hellish landscape with their movie Forgive Us All at Grimmfest 2025. Here she chats about her vision and what she has planned in the near future.
STV: Did you know from a young age that you wanted to work in the film industry?
JS: I’ve always had a burning desire to tell stories in a creative way. I grew up dancing and performing from a very young age, which naturally evolved into a love for theatre and eventually directing stage productions. When I was about thirteen, I picked up a camera for the first time. I had no idea what I was doing, I just started shooting and editing little pieces together, and instantly fell in love with the process. I entered one of those early short films into my school film festival and ended up winning, which completely surprised me, but it also hooked me. From that moment on, I knew filmmaking was where I was meant to be.
STV: Are you a fan of the horror genre?
JS: Yes, a big fan. What I truly love about horror is its ability to tell deeply intimate stories. When it’s rooted in something personal, it can become incredibly emotional and connective. Horror puts characters under extreme pressure, and through that, we get to experience their fear, resilience, and even moments of unexpected empathy, sometimes even for the monster itself. The best horror reflects the anxieties of its time, whether it’s about a child being possessed, a family unraveling, or society itself breaking down. It’s a genre that holds up a mirror to what we fear most, both personally and collectively. I also love how horror pushes creative boundaries, visually and sonically. From unusual camera angles and practical effects to inventive sound design and psychological sleight of hand, it’s a playground for bold storytelling and I love the genre.
STV: Where did the idea for Forgive Us All come from?
JS: The story really came from a personal place, a journey of redemption. I was carrying a lot of guilt and grief in my own life, and writing became a way to process and release it. In many ways, Forgive Us All was born out of that emotional reckoning. The themes of forgiveness, survival, and moral compromise all stemmed from what I was trying to understand within myself. The world of the film: harsh, fractured, and on the edge, became a kind of mirror to our own. It’s an extreme reflection of where humanity could head if fear and control take over compassion and connection. Through that lens, I wanted to explore not just how people survive the end of the world, but how they live with themselves after. Ultimately it’s a story about healing, compassion, and finding light again in the darkest places.
STV: What was your writing process alongside Lance Giles, and did it take long to get the script just right?
JS: Working with Lance was an incredibly organic and rewarding process. We both came to the story with a shared understanding of its emotional core, this idea of redemption and survival in a broken world. Our process was very fluid. We spent hours just talking about the characters, their inner lives, the world they inhabit, and the psychology behind decision they make. Then I’d go away and write, shaping those conversations into scenes and structure, and we’d come back together to refine and challenge the ideas again. In the end, it became a true partnership, built on trust, shared passion, and a lot of creative debate :)
STV: Did you write it with a cast in mind?
JS: Not particularly. I think sometimes when you write with a specific actor in mind, you can end up boxing yourself in. The character starts to exist only as that one person, and if that actor isn’t available, it can be hard to reimagine them any other way. For me, it’s more about writing the truth of the character, their voice, their pain, their purpose, and trusting that the right actor will find their way to it. I genuinely believe the universe has a way of bringing the right people to the right roles.
STV: This is your directorial debut, were you nervous the first day on set?
JS: Of course, a little :) But honestly, once we called that first “action,” the nerves disappeared. And it was game on. From that moment, everything just clicked into place. We had an incredibly ambitious five-week shooting schedule, so there wasn’t much time to sit in fear. We had to move quickly, make bold decisions, and trust our instincts. And I actually love that kind of pressure. It forces you to be sharp, resourceful, and present. Some of the best creative moments on Forgive Us All came out of that intensity. For example, the scene near the end where Rory is attacked by the Howler on the riverbank was originally planned as a multi-shot, full fight sequence. But we quickly realised we didn’t have the time to shoot it that way. So I turned to my DOP and said, “Let’s make it a oner, stay with the torch and the bag.” And it ended up being one of my favourite shots in the film. I was also surrounded by such an amazing team, people who believed in the story as much as I did. That kind of energy is contagious; it keeps you grounded and gives you courage when the day gets tough.
STV: What lessons in directing did you learn whilst in production?
JS: One of the biggest lessons I learned was the importance of fighting for what you believe the story needs. There were a few scenes I felt were crucial for pacing and emotional rhythm, but with such a tight schedule and limited resources, not everything could make it in. As a first-time director, I had to find the balance between standing my ground and respecting the realities of production, time, budget, weather, fatigue. All those unseen factors that shape a film. Looking back, I realised that your instincts as a director are there for a reason. You have to listen to them, even when it’s super uncomfortable. Next time, I’ll push harder for these moments. But I also gained something valuable in the process, that every challenge is a lesson in trust, in my team, in the story, and in myself.
STV: Was it all shot on location and if so, how hard was it for the whole production?
JS: Yes, the entire film was shot on location in Queenstown, New Zealand and honestly, it was the best decision we could’ve made. Queenstown has this raw, cinematic beauty that feels both haunting and majestic, which perfectly matched the tone of Forgive Us All. We were incredibly lucky with the weather. The autumn light was magic, giving us those rich, earthy tones and moody skies that became such a big part of the film’s atmosphere. That said, shooting on location always brings its challenges. We battled unpredictable conditions, cold nights, and the occasional logistical headache, but those elements added authenticity. I remember laughing with my post-soundie because we were constantly faking wind effects, the valley was completely still for parts of the shoot. But in the end, that eerie stillness added to the desolation and isolation of the world we were creating.
STV: It’s a sombre, dark and emotional movie, what was the atmosphere like on set?
JS: Surprisingly relaxed, actually, haha. You’d expect a film this heavy to carry that weight behind the camera, but it was the complete opposite. I really believe in leading with kindness and clarity. When everyone understands the vision and feels valued, the set becomes a space for trust and creativity. We honestly had the most incredible cast and crew on Forgive Us All. Everyone showed up with heart and commitment, no egos, just teamwork. Even on the toughest days, when the weather turned or the scenes were emotionally draining, there was this shared understanding that we were all building something together. Of course, there were moments when the tone of the story crept in, certain scenes demanded silence, focus, and emotional presence but between takes there was laughter, banter, and a real sense of family. That balance kept us grounded and made the darker material not just bearable, but deeply fulfilling to explore.
STV: Will you be nervous when it has its European premiere at Grimmfest 2025?
JS: Absolutely! I think I’d be worried if I wasn’t a little nervous! Forgive Us All is such a personal film for me, born from a lot of emotion and hard work, so sharing it with a new audience, especially one as passionate about horror as Grimmfest’s, is both thrilling and a little terrifying. But mostly, I feel incredibly grateful. To have the film premiere in Europe, at a festival that celebrates bold and boundary-pushing storytelling, feels surreal. Those nerves really come from wanting people to connect with it. To feel something :) At the end of the day, that’s why we tell stories, to reach people. So yes, I’ll definitely have butterflies, but the good kind. The kind that reminds you this moment matters.
STV: Did it take long to create the look and sound of the creatures?
JS: From the very beginning, I didn’t want them to just be “monsters” in the traditional sense. They had to feel of the world, like something born from it rather than dropped into it. Their design came from the idea of decay and evolution colliding. Something that was once human, now twisted by nature, virus, and time. We experimented with textures, lighting, and movement. It was all about finding that balance between realism and nightmare. I wanted audiences to sense the tragedy behind the horror. That these were once people, not just things to fear. The sound design was just as important. We layered animal calls, distorted human breaths, and even mechanical elements to create something unsettlingly yet familiar. It had to feel organic, like the forest itself was breathing through them. A little side note: the Howler that takes out Noah is actually my voice. We pitched and warped it, of course, but recording that was such a blast. One of those unexpected moments where you get to fully throw yourself into the madness. In the end, both the look and sound became a huge part of the film’s identity. They’re not just creatures in the story, they’re extensions of the world’s decay, and reflections of what humanity has become.
STV: So, what are you working on at the moment?
JS: I’m currently developing another horror project. This one set in 1700s Scotland. It’s very much in the gothic and folk-horror I’m currently developing another horror project. This one set in 1700s Scotland. It’s very much in the gothic and folk-horror space, with witches, superstition, and a deep sense of atmosphere at its core. I’m incredibly excited about it. It’s a story that leans heavily into mood and mythology, and it’s definitely going to push some cinematic boundaries, both visually and emotionally. But that’s what excites me most as a director: taking risks, exploring fear through beauty, and creating worlds that linger long after the credits roll.
STV: Jordana Stott, thank you very much.
