Julia Halperin previously produced, co-directed, and edited “Now, Forager,” which had its world premiere in 2012 at International Film Festival Rotterdam and its North American Premiere at New Directors/New Films. The film was included in several critics’ best-of-the-year lists, including the Museum of Modern Art’s “Contenders” series. Halperin and her co-director Jason Cortlund were nominated for a Breakthrough Director award from the Independent Feature Project’s Gotham Awards.

“La Barracuda” will premiere at the 2017 SXSW Film Festival on March 11. The film is co-directed by Jason Cortlund.

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

JH: “La Barracuda” is a psychological suspense story. Merle (Allison Tolman) is the daughter of Wayne Klein, a notorious touring musician, now deceased. Merle has chosen a stable life in Austin and is about to marry Raúl (Luis Bordonada), a kind man with a young son. When a young British woman named Sinaloa (Sophie Reid) shows up on Merle’s porch claiming to also be Wayne’s daughter, she brings a familiar chaos with her, which soon starts to unravel Merle’s stable world and an already tense relationship with her mother Patricia (JoBeth Williams).

And while the family music legacy brought this stranger to town, dark motives are woven into the songs she sings, showing glimpses of a violent rage that’s been building for years.

W&H: What drew you to this story?

JH: Sinaloa, Merle, and Merle’s mother Patricia are complex female characters. Their relationships are subtle and nuanced in a way that feels recognizable to me as a woman, a way that I often feel is not represented in movies.

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

JH: I hope they’ll be moved! I don’t want to provide any spoilers, but I hope the performances, visuals, and music will create an experience that surprises the audience and leads them to reconsider some of their expectations.

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

JH: Because of budget constraints, we didn’t have very much rehearsal time before shooting started. In addition, we had to work on a six-day week schedule, so we had very little time for additional prep once production began. It was exhausting and we had to make some really tough choices on set.

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

JH: We spent nearly three years raising the funds for “La Barracuda.” Female-driven stories are still seen as niche, so we couldn’t raise money on the script alone. Allison Tolman and JoBeth Williams are well-loved actresses, so once we had them attached we started to get more serious consideration from investors.

Still, we had to settle for a lower-than-ideal budget, and had to manage a crowdfunding campaign for finishing funds at the same time we were getting the film ready for its premiere. That was another exhausting stage!

W&H: What does it mean for you to have your film play at SXSW?

JH: “La Barracuda” is really rooted in the landscape and musical traditions of Central Texas, so it’s an honor to open the film right here where it was developed and shot. And Austin’s film and music communities have given me so much over the years — I’m glad to be premiering the film in such a supportive community.

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

JH: The worst advice I got was from a well-intentioned professor when I was graduating from college. She told me, “You never have to work for free,” and unfortunately, I have not found that to be true. Especially when you’re starting out, it’s important to build up a resume and set of relationships, and for many people that means volunteering, internships, low-paying gigs, etc.

The system is really problematic, because it makes it even harder for lower-income people to work in the media industry, but I don’t think that it’s likely to change anytime soon.

The best advice came from a few sources, but basically, it was to make a film you’d want to watch! If an image, a story, or an idea moves you deeply and personally, it’s more likely to move others as well. Ironically, the more specific something is, the more likely it is to resonate with other people.

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

JH: Know your strengths and weaknesses. Bring on talented collaborators and learn from their input, but don’t be afraid to speak up for your own vision! Filmmaking is really a balance between championing your own point-of-view and listening to the people around you.

Many female directors already have the ability to communicate and share decision-making power, but they may not be confident with their leadership skills. And sometimes women as well as men need to learn when they’d benefit from following the advice being offered by team members with greater knowledge of a particular problem or circumstance.

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

JH: Tough question — I’m a huge fan of Chantal Akerman, Claire Denis, Kelly Reichardt, Agnés Varda, and even Doris Wishman!

My current woman-directed favorite is La Ciénaga by Argentine director Lucrecia Martel. It’s incredibly rich and subtle, and a vast amount of social and psychological complexity is communicated with very little dialogue. Martel’s work really rewards multiple viewings, which is a quality I love.

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.

JH: I’m hopeful but not quite optimistic, if that makes sense. I have a ton of respect for everyone that has been struggling for greater inclusion of women, people of color, and other underrepresented groups. I stand on the shoulders of so many talented and hardworking people, and for that I’m really grateful.

At the same time, power gives up nothing without a struggle, and the financial, technical, and social circumstances we’re living in right now make it really hard for even well-meaning people in the film industry to take risks. So things may slowly get better, but it’s not going to be easy.