Anemoia is my debut feature film, a story pulsing with emotions, strung by the quiet ache of lives half in reality and half in dreams. It follows Casey, a restless romantic, chasing a world that feels just out of reach, and Michael, her dropout‑turned‑FIFO boyfriend who clings to her as his last thread of wonder. Bound together by anemoia—a nostalgia for a time never lived in, we see them slip into vintage clothes, watch old films, and midnight wanderings, building a fragile sanctuary. But as their connection deepens, the real-world presses in. And when Sarah, Casey’s manipulative friend with a sharpened smile and a growing fixation on Michael begins to wedge herself between them, the trio’s delicate bond starts to fracture. What begins as escapism becomes a battle between the lives they dream of and the truths they can’t outrun.
Anemoia took shape through countless iterations. I’m not the strongest writer, but the desire of telling a story about the uncertainty facing young people today motivated me to find a solution. Studying directors I admire, like Jean‑Luc Godard, Terrence Malick, Wong Kar‑wai, who all embraced filmmaking without a script, I realised that was the path I could follow. It’s how so many of us started anyway: early‑2000s iMovie projects where you had an idea, grabbed an iPad or iPod, and shot it on the spot. So, I borrowed the strengths and accepted the challenges of these legendary directors’ processes, ditched the traditional script, and built the film through actor workshops and improvisation. That choice unlocked something raw and honest. The performances feel lived‑in, unpolished, and human—exactly the kind of truth I was chasing for my first feature.
1) Set Photo; 2) Remi Lane; 3) Isla Krieser; 4) Callum Miller; 5) Alexander Tatsiy
Remi Lane brought the essence of the main character Casey to life. Remi has appeared in short films and music videos like ICEBREAKER, as well as the BINGE series RUN. This role resonated with Remi on a level that went beyond the character breakdown sheet, she said, “This is me,” despite the sheet being written by me months before we’d met. That personal connection radiates through every frame. On screen, she’s magnetic. Off screen, she lifts everyone around her. This carried the team throughout the toughest stretches of the shoot and without her, this film simply wouldn’t exist.
Isla Krieser steps into Sarah with a confidence and intuition far beyond someone at the beginning of their career. Isla appeared in the ABC ME series THIS IS ME and several short films, but from the moment her self‑tapes landed in my inbox, her talent and work ethic were undeniable. She threw herself into Sarah with complete commitment. In our early conversations, she built memories from Sarah’s childhood—details that never appear on screen yet made me realise that she understood Sarah more intimately than I did. That instinct and imagination are why I see her as one of the emerging voices of Western Australia’s film scene.
Callum Miller, best known for playing Tracker in HOMININ, and now Michael in ANEMOIA, has been creating worlds with me since primary school. Back then it was iMovie adventures with him and Aziah Sampson (who also cameos in this film). That creative bond never faded. These two aren’t just collaborators—they’re like brothers who’ve journeyed with me through every story we’ve imagined. Whenever I picture a compelling male character, Callum is the first person I think of. He’s always delivered, always elevated the work. Even though he’s no longer pursuing film professionally, his love for it is unmistakable. When I return to the universe of HOMININ, he’ll return as Tracker—because no one else could inhabit that role. Having him in my first feature wasn’t just important; it was essential. Without Callum, the film wouldn’t feel true to its roots or the journey that shaped it.
Alexander Tatsiy, our Director of Photography, is a longtime collaborator that I studied filmmaking with. As the DOP of independent short films like HOMININ, SIDELINES and PROJECT IJO, he has also built an impressive career in the camera department on major Western Australian productions such as THE TWELVE, GHOSTS, PROCLIVITIES, and BREAKER. Alexander is the one person I trust to be the visual voice of the stories I want to tell. Together we developed an intimate, evocative language for Anemoia, forming a process that thrived without a traditional script and embraced improvisation. Alexander is another person who will return with me to the world of HOMININ, as I see us having a long-standing working relationship.
1) Sophia Moldrich; 2) Clayton Schelfhout; 3) Emma McClughan;
Sophia Moldrich, our Production Designer, shaped the visual world of the film with a level of craft rarely seen so early in a career. Her portfolio already includes production design on shorts like HOPSCHOTCH and IN THE DOGHOUSE and directing Homebrand’s music video THE TROUBLE. But what she brought to this project went far beyond experience. Her energy sparks ideas, sharpens creative choices, and elevates every conversation. The detail she poured into the characters’ spaces and costumes made their inner lives tangible. And her resourcefulness is unmatched—she kept the design budget far below the allocated amount without a single frame looking compromised. As a one‑person department, she powered through every challenge with grit and vision. I’m certain this is only the beginning of our collaboration.
Clayton Schelfhout, the editor of Anemoia, has directed short films like WHAT LIES BENEATH and worked extensively in music video production on projects such as Bailey Perrie’s FOR THE PLOT. He’s also acted in Nasman Donovan’s SPEED DIAL and ULTRAVIOLET. This is our first collaboration, but it won’t be our last. Our communication is seamless. He knows what I’m after and delivers, often adding something new that complemented and elevated my initial direction. His technical skill and deep understanding of editing conventions stitched this film together, one scene at a time.
Emma McClughan, our Composer, returns after creating the soundtrack for HOMININ. I knew she needed to be part of my first feature. Emma understands how to elevate visuals and create emotional resonance through Score. Her research is extensive, and her ideas always serve the characters first. The subtle details woven into her tracks reveal themselves on second and third viewings—an example of the invisible labour that audiences rarely notice but always feel. She’s one of the unsung heroes of our industry.
My hope for Anemoia is to give voice to experiences that deserve to be seen and heard on the big screen. While it’s a contemporary story, it often feels like it comes from another time. I want this film to spark meaningful conversations within Western Australia’s independent film scene and the broader Perth community.