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Horse bite

@horseb_ite

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Film & theatre powered by AI (Alice&finn's Ideas)
🍿 @theweedeatersmovie
🏆 Alice May Connolly's Box award-winning comedy coming to Adelaide Fringe 2027
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The Weed Eaters is about to be extremely easy to watch in AUS / NZ!! It’s available from Thursday the 29th so you can watch it ahead of the big Halloween party bender weekend you have planned 🥴 please swipe for some handy examples of how you can enjoy xx
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A potent mix of powerful film bros came together for @48hoursnz to make NAN! We wanted to celebrate my actual nan Lesley Reihana - and then somehow we won the whole damn competition? Outrageous. Hit up Lesley’s agent @jaimeepoipoi for talent bookings (also shot Jaimee for this cute edit). Shout outs to #48hours and all the KILLA teams who entered, what a year for filmmaking!
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We made a short film with @horseb_ite and all of these talented, rizzladen folks as part of @48hoursnz this year and we bloody well took the whole thing out!! Not pictured: excellent musicians @ruby_fainaa_96 and @louisanicklin xx and me @pannybel who took the piccies
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The Weed Eaters have a little something to tell you 🥁📮☕️ Watch #TheWeedEaters now exclusively as an Unreleased Gem on Letterboxd Video Store for a limited time. Pricing and availability by region.
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The official trailer for The Weed Eaters, featuring an introduction from director Callum Devlin, and his cat Lincoln 🐈 Watch now exclusively as an Unreleased Gem on Letterboxd Video Store at the link in bio. Available for a limited time. Pricing and availability by region. #TheWeedEaters #LetterboxdVideoStore #MovieRental
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August Unreleased Gems, available now exclusively on Letterboxd Video Store 👀 💎 The Weed Eaters 💎 Downbeat 💎 I Only Rest in the Storm Watch now for a limited time at the link in bio. Pricing and availability vary by region. #LetterboxdVideoStore #UnreleasedGems #MovieRentals
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Announcing August Unreleased Gems, exclusively on Letterboxd Video Store 👀 💎 The Weed Eaters 💎 Downbeat 💎 I Only Rest in Storm Available for a limited time from August 26, 2026. Read more about these hidden gems at the link in bio.
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New York! Do you live there? Does someone you know live there? The Weed Eaters is having its US Premiere this Friday the 14th of August!!! We’ve been selected as part of @filmlinc’s 14th annual SCARY MOVIES series (sponsored by @mubiusa!) and we’ve even got a discount code - chuck a comment below and we’ll sent it your way xx link to tix in bio xx how exciting xxx ALSO our darling DOP Samuel Austin (who plays Campbell) will be there with bells on, go say hi 🙂 Friday 14th 9PM Saturday 15th 2PM
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@hide.club The Last Dance Ever 4/7
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A quick cheers and chur to Russell Baillie for his thoughtful write up and very generous comparisons in the Listener the other day 🥂 There’s still time to catch The Weed Eaters in cinemas this week where it’ll look and sound its absolute best x Go and treat yourself, and support local indie cinema while you’re at it.
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I’m taking you on the set of The Weed Eaters. It’s 12am. @ominouscommunication @oliverdevlin and I have made our beds to sleep. Tired. There’s a pile of “prop” meat amongst splatters of blood. There’s us, all lying there healing our bodies for another riotous day of filmmaking. Wow - how do you even make a film? @teamsportsteam crowdfunded Every favour was called in A huge awhi to my #1 1st AC @ominouscommunication . We wouldn’t have made it out without you Anna. Let’s talk cinematography. I knew from the jump that we needed to use every trick we had if we wanted the imaging to meet the needs of this story. We had some lights, no gaffer (c’est moi), for camera - a Lumix S5ii (ie: modern sensor) two Lumix brand lenses (50mm, 80mm) and one tele (long). After doing a camera test in Canterbury we decided the lenses were “fine”. Callum and I talked about whether 2.35:1 aspect ratio would kill the comedy of the film. I was certain that shooting the film in “scope” would give it a cinema crust that would defy our budget and delight the big screen. Report: Yay, CinemaScope can still be funny. Light. Specifically the light at the beginning and end of the day. One day in my life I ended up in a car with DP @ariwegner Jane and Ari had invited me to the set of The Power of the Dog for a sunday prep day. (Lucky boy) I told Ari I had been shooting music videos and that I loved to use the golden hour. She said one thing to me - “how do you manage the time?” There’s a funny thing about low budget vs high budget - Having less money meant having more autonomy over how we shot this film. No one said that shooting all the exteriors in the golden hour was impossible. Yes we lost the light in a few places. Yes we still used the footage. We planned around big ideas because no one was telling us “no”. All of us saw the importance for the quality of our film. Also, a trick - the magic hour in Canterbury in the summer is a lot longer than 1 hour. If it’s too bright - we shoot in the forest - if it’s the middle of the day - we shoot the night scenes - we black out the set - we shoot day for night. “If you shoot it they might use it” - Ari Wegner Shoot wisely
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Does gear matter? This is a really complex question. The short answer from me is nah, but yes but maybe just wait for the light? The images above are stills from films I’ve shot and then the camera that was used to shoot it Instagram can’t do multiple aspect ratios (lame) so some of these are chopped up a little. This is just my opinion, fight it out in the comments. I think when people think about good gear - we are often talking about a camera. What’s weird is that as I’ve used more cameras - and seen what they can do it’s become clear to me that the camera matters very little. It’s absolutely about how you use it, how you frame the story. So then … you need some gear? For me its like, “I need to frame the story” In my opinion the gear that really matters is the really boring stuff and then trying to make strong choices about that. I’m talking about tripods, whatever you have for a dolly, the actual aspect ratio you choose; and the lights. Like whatever lights you can get your hands on. Maybe a bunch of fabric or something to manipulate light. Then of course, just wait for the light. (Our mate te ra) I like to think about film like we are finding fragments of a world, and building a relationship between all those different perspectives we frame up! You can’t cut to a fragment you don’t shoot. (Well, not quite) Ok if you made it through this HUGE caption what’s everyone’s favourite gear, go on. Or rather what do you rely on the most to make excellent work?
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