April Mullen is a mixed Anishinaabe Algonquin (Indigenous) director and producer. Her credits include “Below Her Mouth,” which made its world premiere at the Toronto International Film Festival, and “88.” She became the youngest person and first woman to direct a live-action stereoscopic 3D feature film with 2012’s “Dead Before Dawn 3D.” Her TV credits include “Lethal Weapon,” “The Rookie,” and “Wynonna Earp.” She is the co-founder of independent production company Wango Films.

“Wander” launches in theaters and on demand/digital December 4.

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

AM: “Wander” is a psychological thriller where the twists and turns are brought to the audience through the eyes of an unreliable narrator. When we meet our protagonist, Arthur, played by Aaron Eckhart, he is in a state of deep grief as he attempts to unveil a truth larger than himself. It’s the story of a silent warrior, a man who goes through great heroic measures to shed light around government surveillance and violence.

W&H: What drew you to this story?

AM: The concept came to my producing/writing partner Tim Doiron and I at a very unique time in our careers. We have been collaborating together for over a decade and we wanted to explore an entirely original film that was centered around an intelligent lead character who was dealing with mental health issues brought on by the loss of his family. We were also excited for the challenge of telling a story through the eyes of an unreliable narrator as he navigates his extreme state of paranoia. Tim and I are also intrigued by government conspiracies and questioning the world that stands in front of us.

At the heart of Arthur’s conspiracy lies the truth that Indigenous women, Two-Spirited warriors, BIPOC, and displaced peoples have been a continual target and victim of governmental subjugation and violent practices. As a mixed Anishinaabe Algonquin female director, these themes are deeply important to me. I have collaborated with musical artist Jeremy Dutcher to include the medicines of our ancestors’ songs as a form of critical healing now and for the future.

W&H: What do you want people to think about after they watch the film?

AM: Ideally the last shot of the film, with Aaron delivering a brilliant performance in a moment of utter truth and release, brings audiences a sense of hope. The last shot brings me to my knees — it did the day we shot it and everyday afterwards. It’s powerful and speaks for so many silenced voices that truth will prevail. In the end Arthur finds the answers he’s been seeking, and his voice will no longer be silenced. Alternatively, some might think: was it all in his mind? Is this the ending he needs to see for himself in order to let go of the grief relating to the loss of his daughter and wife and the pain he’s been holding onto?

Either way, I hope the audience can all find scenes, characters, themes, and aspects that they can relate to. We build a world to touch, inspire, push, and evoke thought and feelings in audience members. With “Wander” I want them to know a warrior of the light, in the end, prevails.

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

AM: “Wander” was the hardest film Tim and I have ever made. It was a big leap for us and we spent five years getting doors slammed in our faces. It was challenging on so many levels. We always felt as though our 3D film, “Dead Before Dawn,” would take the cake as we had to invent rigs with our tiny budget to get it across the finish line, but then came “Wander.”

We shot the film in Carrizozo, New Mexico, where we spent five months of our lives in rustic roadside motels similar to what you see in our fictional town of Wander, an experience that I loved. It was very unique and inspiring getting to know New Mexico and Carrizozo as we brought it to life with movie magic. The community was supportive, and the two restaurants were happy to have us.

That being said, the stunning backdrop of New Mexico sometimes had its drawbacks. There were significant challenges getting the crew out to Carrizozo, finding enough room to house them, and then realizing we didn’t have city access for gear, food and the million other things you suddenly need while shooting. We had to be incredibly innovative with time and budget, which were extremely tight on both sides. Although it was the hardest thing we have ever done, shooting “Wander” felt as if time froze for brief moments and I was able to watch the dream unfold in front of me. Making a film with a talented group of people who were all in it together ‘til the end. There are so many beautifully memorable moments: I can still hear the trains that passed through the town and Aaron voice yelling “train!” That moment, along with a bunch of others, stood still for me.

The film was bigger than itself – we didn’t have near enough below the line budget to do everything we hoped to. Everyone had to be innovative, a team player, and give it all they had. It is a film made from unrelenting resourcefulness, passion, blood, sweat, and tears.

Then in post-production there was COVID-19 to deal with, where everything had to stop for two months, which put us behind. Again, we had no choice but to innovate and adjust, working with post houses to pioneer post-production in a COVID-19 world. But we still finished and delivered in the middle of the pandemic.

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

AM: “Wander” was made by a bunch of believers all sticking their necks out in order to do what had to be done. We all invested in the film. Andre Relis and VMI never gave up, bringing presales and some angel investors to the table, which we the filmmakers are forever grateful for. Ingenious stepped up as our senior lender, Unifi as our “partner in crime” bond company, and both New Mexico and Canadian tax credits came into play. All that along with way too many deferred fees and credit cards — not supposed to say that — and, well, putting it all on the line every day.

W&H: What inspired you to become a filmmaker?

AM: Creating has consumed my heart ever since I can remember. It wakes me up in the morning and won’t let me sleep at night. I’m addicted to observing and capturing the fleeting moments, finding the spark between people and within ourselves, and then being able to share it with an audience, allowing them into a world created from imagination.

I love coming together with other dreamers and building a stage from beginning to end. Without being ridiculous, I just love every single moment of it – the impossible sitting in front of me, staring me in the face, the unpredictability of what will unfold daily on set, building seamless shots to tell an impactful story, diving in with actors, running alongside the crew, inspiring the ship when all seems lost, problem solving, being with the imaginary, and pushing the impossible to become possible.

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

AM: Best advice: My parents have always told me that “anything and everything is possible if you want it, work hard for it, and believe in it.” They also taught me that “love is the meaning of life — every day comes from a place of love and giving.”

Worst advice: From the age of 14-18, almost every adult I interacted with told me, “You’re smart. You should get a normal job, have a good secure life, be a teacher, or architect. Don’t go near the entertainment industry.” A network executive at my first big LA meeting over 15 years ago told me, “It’s not likely you’ll ever direct a film or TV. It’s not a women’s field. You should marry up. You have it all — why take the hard working road when it won’t pan out? You’re young now. Make it count. Find a husband.” All of this only fueled the fire and made lightning bolts come out of my palms to the point where I thought, “Fine, they won’t hire me, I’ll produce and direct my own films then.”

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

AM: Take big swings. I’m not big on the middle of the road. Be bold. I want to see your imagination, inner voice, and creativity in every frame. Let’s see how we can share our perspective with the world and bring new experiences to audience members.

We are in the middle of a huge shift: what we do and create now will impact the next generation. Let’s work together on pushing the consciousness forward in a bigger direction, where all voices matter and we stand firm on this. When you have a strong instinct about something as a director, don’t waver: stand firm and communicate why you feel the way you do.

Enjoy it! If you’re on set creating, you’ve worked incredibly hard to get there. Love the process, be prepared, and be open to the unknown.

Ideally in the future, labels like female director will dissipate, and we will be known as directors, and not labeled by our gender, etc. This will not play a part in how we are each defined: it will be about our work, our creations. But for now, as equality must be leveled out, I understand why we must be labeled.

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

AM: Currently, Andrea Arnold’s “American Honey.” I saw it at Cannes Film Festival and I remember the feeling of wanting to stand up on my chair and scream, “This film is so alive! Can you feel that, people?” I love films that carry with it a heartbeat – unpolished, original, unpredictable, and overall, alive, where nothing feels rehearsed or plotted even though every inch of the frame has been.

W&H: How are you adjusting to life during the COVID-19 pandemic? Are you keeping creative, and if so, how?

AM: We had to finish “Wander” remotely at the beginning of the pandemic. We worked alongside our video post house, Red Lab Digital in Toronto, coloring remotely with our colorist while I was in Niagara Falls isolating with family. We got to do all our ADR over virtual platforms, working with our actors who were all over the globe. Everything would be delivered to our audio post house, Urban Sound, also in Toronto. It was surreal doing a final sound mix mostly remote. I love being in the room together and collaborating, so that was definitely weird. I also worked with our composer, Alexandra Mackenzie, on our original score all remotely. She was in Montreal.

Since finishing “Wander,” I’ve been writing and developing with Tim and Wango films, our production company. We are currently setting up our next film, “Hello Stranger,” a sci-fi/thriller set to shoot in 2021.

Not a day goes by I don’t create something, whether it be a new meal to share with the family, a new garden in the backyard, taking photos, writing poetry, envisioning new moments in films not yet fleshed out, rebuilding a home, or getting creative on what to do next if this is how things might stay for another year. Our family is very close and we’ve had an incredibly eventful and memorable time during COVID-19. Every day is special and spectacular because it must be — there will not be another one like it.

W&H: Recent protests in the U.S. and abroad have highlighted racism and anti-Black police brutality. The film industry has a long history of underrepresenting people of color on screen and behind the scenes and reinforcing — and creating — negative stereotypes. What actions do you think need to be taken to make Hollywood and/or the doc world more inclusive?

AM: Positive thoughts: The wave of change is all around us. Now is the time to break all molds, stand firm for all voices, whether that be LGBTQIA+, BIPOC, Two-Spirit warriors, Elders, the youth, those struggling with mental health. Those silenced at the hands of settler colonial capitalism. We have an opportunity to hear each other, support each other, give equal opportunities to all now more then ever.

By sharing perspectives on narrative stories that have been pushed to the margins of society for far too long and by breaking those molds that we have all been fed, we will have the possibility of educating those around us to empathize with one another and build a world that we hope to create: a world of acceptance, less violence, more communication, and a lot more sharing of our collective resources, breaking down walls, respecting the planet in its natural beauty, and building a brighter future. It is in our hands, as the visual medium of storytelling, moving picture, novels, photography, art, and dance have always had a major impact on the present and pushing us to a new growing consciousness. It is our responsibility.

The reality: We truly are a very far far way away from equality, and daily we are silenced. Until the great “decision makers” also come from every type of voice, we will not move fast enough. It’s the top of the top [that decides] what is chosen to be made, produced, aired, and put on the big screen — the very basis of the foundation that runs the entire entertainment industry has a very long way to go. We need Black, Indigenous, and POC in positions of power in every sector of this industry to heal. Content is evolving and now we need outlets to be sharing instead of restricting audiences to old and archaic material.