Kestrin Pantera is a writer and director whose last feature, “Mother’s Little Helpers” world premiered at SXSW 2019 and landed awards including Best Feature Film, Best Director, Best Ensemble Performance, and Best Actress. Pantera is currently developing her next film, “Black Rock City,” based on the origin story of Burning Man.
“Pretty Problems” hits theaters and VOD tomorrow, October 7. The film had its world premiere at SXSW 2022, where it won the Narrative Spotlight – Audience Award.
W&H: Describe the film for us in your own words.
KP: “Pretty Problems” is a story about a normcore married couple whose relationship is in the dumps, but they get invited on a weekend getaway to a billionaire compound with a bunch of rich nut jobs. Insanity ensues.
W&H: What drew you to this story?
KP: It’s extremely fun. Everything from writing, dialogue, characters, relationships to obstacles is hilarious and relatable. There’s an income inequality thread that’s salient and current, but not heavy-handed or preachy.
W&H: What do you want people to think about after they watch the film?
KP: Be grateful for what you’ve got. Regardless of how great things look for those who have more than you, everyone has their own shit they’re dealing with. Give yourself some grace.
W&H: What was the biggest challenge in making the film?
KP: Getting pushed a year due to pandemic — but it turned out to be a blessing because we retooled the script in wonderful ways.
W&H: How did you get your film funded? Share some insights into how you got the film made.
KP: “Pretty Problems” was privately financed before I was hired!
W&H: What inspired you to become a filmmaker?
KP: Like most kids, I started by writing and directing my own comedic “SNL”-style commercials at eight years old. I was very moved the first time I saw Zach Braff’s “Garden State,” and wanted to do my own version. Clint Eastwood was the first person I knew of who wrote, directed, starred in, and scored his own movies, which always intrigued me.
W&H: What’s the best and worst advice you’ve received?
KP: Worst advice: “Let’s wait and see.”
Best: “It’s better not to ask for forgiveness or permission.”
W&H: What advice do you have for other women directors?
KP: There’s not a secret door that magically opens. Kick down doors. Be relentless, have grit, and make your shit right now, with whatever resources you have available. There is no excuse.
No one will give you permission, validation, or a big fat check, to start. You must declare it yourself and make it so.
Also, learn how to edit.
W&H: Name your favorite woman-directed film and why.
KP: “Wayne’s World” by Penelope Spheeris and “National Lampoon’s European Vacation” by Amy Heckerling.
W&H: What, if any, responsibilities do you think storytellers have to confront the tumult in the world, from the pandemic to the loss of abortion rights and systemic violence?
KP: Did “The Handmaid’s Tale” stop it from happening? Part of me thinks modeling catastrophes helps perpetuate more of them. Don’t give them any ideas! I prefer to create and model visions of a better world.
W&H: The film industry has a long history of underrepresenting people of color onscreen and behind the scenes and reinforcing — and creating — negative stereotypes. What actions do you think need to be taken to make it more inclusive?
KP: I don’t think there’s ever been a better time than right now to model thriving, diverse communities and highlight new talent — and tell stories of excellence and success. Let’s make that the norm.
