Hole in the Ground
2008 • 39 mins

Cast
Cody Fern
Shakeel Latimer
Mark Seman
Angelique Jorre de St Jorre
Nate Doherty
Chau Goh
Rory Mitchell

Writer/Director/Producer
Kenta McGrath

Director of Photography
Hugh Thomson

Production Design
Michelle Hall
Audrey Tan

Editor
Jess Fogarty

Sound Design
Benjamin Mulvey

1st Assistant Director
Annabelle Fouchard
Mark Seman

Executive Producer
Ron Elliott

Zack drifts through his everyday existence, wandering the streets, meeting with friends he cares little for, and staring at the places and people that inhabit his world. This existence is punctuated only by brief excursions with a camcorder to film acts of depravity, the only activity that seems to stimulate him. Seduced by the power to create his own images and increasingly alienated from the world around him, Zack commits and records a tragic act that forces him to confront – and engage with – reality anew.

Filmmaker’s Note
The ‘Hole in the Ground’, as it was unaffectionately known, was a huge derelict pit in the middle of Perth city, on which now sits the BHP Billiton building. It remained undeveloped for years, following various development fuckups and swapping of hands, and it became overgrown, attracting wildlife, garbage and some great graffiti. I'd written a lot of the film around it, including the ending, which was supposed to take place inside the space itself, but we had to rush the film into production when we learned that construction was imminent. After a lot of negotiating we were a whisker away from gaining access, but the only dates available were on an Easter long weekend and we couldn’t afford to fork out for the associated surcharge costs. So we never actually see the ‘Hole in the Ground’ in the film, although several scenes happen right next to it. Still, we like to think that the spirit of the place lives on in the film, and we kept the title because it somehow works. The film itself is total Haneke-worship but I remember that Cody Fern was great to work with, and it was a fun and relaxed shoot despite the ridiculously low amount of film stock we had (the shooting ratio was something like 2.5 to 1).