Considering his last two films, Blacktown and Boxing Day, were digitally shot low-budget dramas set in urban Australia, it’s understandable why director Kriv Stenders admitted he “wanted to work on a broader canvas.” It is without question that his latest film Lucky Country, a thriller set in the Australian bushlands at the turn of the 20th century, is that canvas.

In what is a decidedly dark account of the onset of the Australian federation, Lucky Country tells of a desperate family on the brink of ruin when three strangers arrive at their farm with rumours of gold. As the lure of gold infects each member of the family, their cabin becomes a psychological battleground in which their loyalty is put to the ultimate test. There’s nothing ‘lucky’ about what results as Stenders’ film is a harrowing take on the human condition, propelled by a strong Australian cast consisting of Aden Young (The Bet, Cosi), TV’s Neil Pigot (Neighbours, The Secret Life of Us) and introducing young prodigy Toby Wallace.

With the film opening nationally on July 16th, I had the opportunity to sit down with Kriv Stenders and discuss his new film and the state of the Australian film industry on a whole. He talks of his influences as a filmmaker, why he shot Lucky Country in film despite his preference of digital and how he believes “99% of directing is casting”.