Austin Film Festival selects Australian horror short ‘Gracie Sees a Ghost’ for 33rd Edition

Austin Film Festival selects Australian horror short ‘Gracie Sees a Ghost’ for 33rd Edition

Drawing inspiration from cult horror Lake Mungo, Gemma Carfi’s subverted true-crime investigation explores family annihilation, community secrets, and media ethics.

RIPPA Films is proud to announce that Gracie Sees a Ghost, a gripping horror short directed by award-winning Melbourne filmmaker Gemma Carfi (Ostrich), has been officially selected for the prestigious 33rd Austin Film Festival shorts program in Texas.

Taking inspiration from iconic Australian cult horror Lake Mungo, Gracie Sees a Ghost investigates a shocking family annihilation case and the enigma of its perpetrator, Gracie Donaghue. The film examines what happens when someone perceived as ordinary commits an unspeakable act, forcing an entire community to confront the darkness within itself.

Rather than indulging in standard genre tropes, the horror subverts true-crime conventions to question the ethics of this content, audience culpability, and the elusive nature of truth.

Gracie Sees a Ghost serves as a proof of concept for a feature film currently in development with a completed script, establishing a cornerstone for RIPPA Films' expanding slate of bold, genre-focused Australian cinema.

Director Gemma Carfi shared the below statement:

True Crime as a genre has experienced a massive explosion of popularity in recent years, and, as a subject that tends to have a majority female audience, this proliferation has received no small amount of criticism.
And while our rabid obsession for observing and consuming the violence inflicted on others should rightfully be examined, dismissal of this phenomenon as base voyeurism is far too simplistic.
True Crime is a genre, and one that should be respected and engaged with as critically as any other. We set out to make a film that examined and subverted the tropes of True Crime; at what point is a story exploitation? What responsibility do the filmmakers have to the victims, and to the truth? And how culpable is the audience really?
After all, everyone has an agenda, and somebody is probably lying.

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