Alena Lodkina is a Russian-born filmmaker based in Melbourne, Australia. She has made fiction and documentary short films that have played at festivals around the world, including Melbourne International Film Festival, Message to Man, Antenna Documentary Festival, and Belo Horizonte International Short Film Festival. Lodkina also works as a film editor and is a member of the Fountain Vista Collective. “Strange Colours” is her first feature project.

“Strange Colours” will premiere at the 2017 Venice Film Festival on August 31.

W&H: Describe the film for us in your own words.

AL: The film is set in an outback opal mining community, where a young woman travels to spend time with her estranged father. It’s a meditation on being lost, on escape, and on fractured relationships. I worked with a mostly non-professional cast, and the film has documentary roots — so it’s also a study of place and a way of life in this isolated community.

W&H: What drew you to this story?

AL: I spent a lot of time on location over the years — a town in New South Wales called Lightning Ridge. The men I got to know there have incredible stories, and a way of looking at life that’s so unique. I pieced together the stories I heard, my favorite characters, places, and moments, and then my co-writer and co-producer, Isaac Wall, and I worked on channeling all that into a story. We always talked about being true to the spirit of the place — so that’s a big inspiration. Opal mining is a sort of final frontier in Australia, and it’s this romantic promise of escape and freedom that fascinated me — I think it’s beautifully bittersweet.

W&H: What do you want people to think about when they are leaving the theater?

AL: That’s hard for me to say. I hope the minds will wander into unexpected territories. I guess I’d like it if people were moved to think of freedom, whether such a thing exists and is within our reach. I hope people walk away enchanted.

W&H: What was the biggest challenge in making the film?

AL: Time. It was extremely challenging making a film in nine months, but also pushed me to trust my instincts and probably let go of my ego a bit.

W&H: How did you get your film funded? Share some insights into how you got the film made.

AL: Isaac, producer Kate Laurie, and I won funding through the Venice Biennale College Cinema late last year. It’s a unique program. We worked on a micro-budget, which is of course very challenging. But we had full creative freedom, and support from tutors who were experts in script writing, producing, editing, etc. — an inspiring, fascinating crew! I think it’s a very important initiative, as it is so difficult to raise that kind of money. And I think the most inspiring films often get made on these little budgets. It forces one to think of what’s really important and to make graceful decisions — I hope!

W&H: What does it mean for you to have your film play at the Venice Film Festival?

AL: It’s amazing! A great honor. We are traveling to Venice next week and to be honest it feels so large that I can’t quite comprehend it. It’s like standing in front of some incredible historical monument and not really having the capacity to grasp it.

W&H: What’s the best and worst advice you’ve received?

AL: Hmmm. Once when I was freaking out about pitching the film and public speaking and stuff, a friend told me to remember no one really knows what you’re talking about as well as you. I thought that was pretty good advice! Mum often tells me to chill in hectic situations and to have courage and that — also excellent to be reminded.

Bad advice, though, I don’t know!

W&H: What advice do you have for other female directors?

AL: That’s a hard one! In the end of “Stromboli,” Ingrid Bergman’s character falls and weeps on top of a volcano, lifts her face towards the skies, and asks God for courage, strength, and understanding. I guess those are all good things to wish for in this challenging industry we’re in.

W&H: Name your favorite woman-directed film and why.

AL: I couldn’t settle on just one. Last year we had the gifts of Maren Ade’s “Toni Erdmann,” Kelly Reichardt’s “Certain Women,” Mia Hansen-Løve’s “Things to Come” and just last week I was completely blown away by Valeska Grisebach’s Maren Ade-produced “Western.” It was a film of intense dignity and humanity, and exquisite filmmaking.

Amongst older gems — Larisa Shepitko’s “Wings” and Kira Muratova’s “Brief Encounters,” and everything by Chantal Akerman.

I am so excited to see Lucrecia Martel’s new film, “Zama,” in Venice.

W&H: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directors yet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have on this topic.

AL: Profound change can be a slow thing, but I do feel like things are looking up for us women. This year in Melbourne, [Melbourne International Film Festival] art director Michelle Carey ran an excellent program looking at Australian female pioneer directors — it was inspiring to be reminded that women have been making great films for decades in our country. And though the ethics can be tricky and uncomfortable, I do support state funding/quotas for women filmmakers.