It was the “absolute remoteness” of Tasmania that initially inspired filmmaker Zak Hilditch to set his latest zombie horror film, We Bury The Dead, on the island. However, the same characteristic ultimately led him to abandon filming there, opting instead for the more cost-effective Western Australia.
The movie, featuring Star Wars actor Daisy Ridley as Ava—a woman part of a “body retrieval unit” searching for her husband in a devastated Tasmania—was forced to relocate due to logistical and financial constraints. Hilditch explained to ABC Radio Hobart that filming on-site in Tasmania was not feasible “logistically and money-wise.”
Financial and Logistical Challenges
Hilditch’s vision for an authentic Tasmanian setting was thwarted by the challenges of transporting crew and equipment to the island. “As hard as it is for [Ava] to travel from the north to the south of the island, it’s actually that hard to bring all the bells and whistles and the crazy circus that is a film to a place like Tassie,” he remarked.
The Tasmanian government was unable to provide financial support, unlike its Western Australian counterpart. A spokesperson from Screen Tasmania confirmed that a funding application was submitted but withdrawn before assessment. This decision has been seen as a missed opportunity for Tasmania’s arts sector, which already receives the least government funding compared to other states.
Creative Inspiration and Setting
The film’s storyline unfolds in the aftermath of a catastrophic military experiment in Tasmania, leading to corpses exhibiting signs of life. The trailer, featuring grainy CCTV footage, depicts Hobart and the Tasman Bridge engulfed in a massive explosion. Hilditch initially considered settings in America or New Zealand but ultimately chose Tasmania for its stunning and isolated landscapes.
“I just felt like the perfect spot was Tassie, given its absolute remoteness and just what a stunning location it is on screen,” Hilditch explained. Despite the challenges, the crew endeavored to replicate the Tasmanian landscape in Albany, a city approximately 400 kilometers south of Perth.
“The amazing thing has been people who have no idea about any of that, when they see the finished film, they just assume we did actually shoot it all in Tassie,” Hilditch said.
Impact on Tasmania’s Film Industry
The decision to film in Western Australia rather than Tasmania has been described as “disappointing” by local filmmakers. Briony Kidd, a Tasmanian filmmaker, expressed regret over the missed opportunity for local production crews. “It’s always disappointing for Tasmanian filmmakers and the production community here when something could have been shot here and isn’t,” she said.
Courtney Tembry, founder of the Hobart Horror Society, echoed these sentiments, noting the strong creative community in Tasmania, particularly within the horror genre. “It really did feel like a missed opportunity,” she commented.
Screen Tasmania did manage to secure two traineeship placements on the project, aiming to build screen industry capacity in the future. However, the broader implications of the decision highlight the challenges faced by Tasmania’s film industry due to limited funding and logistical hurdles.
Reception and Future Prospects
We Bury The Dead premiered in North America on January 2 and in Australia and New Zealand from February 5. Despite the limited theatrical release in Tasmania, with screenings confirmed only at Village Cinemas Eastlands in Hobart, the film has garnered positive reviews. It holds an 87 percent approval rating on Rotten Tomatoes.
“It’s always a nice win to see the critics giving us a big thumbs up,” Hilditch said of the film’s reception.
While the film’s distributor, Umbrella Entertainment, is attempting to secure additional screenings in Hobart, the limited release underscores the ongoing challenges for Tasmania’s film industry. As the state continues to grapple with funding and logistical issues, the decision to film elsewhere highlights the need for greater investment and support to attract future productions.
