Mara Jean Quinn in Andamooka.

Set to make its world premiere at CinefestOZ this week, Andamooka is a raw and honest portrayal of womanhood, directed, written, produced by, and starring Mara Jean Quinn.

Andamooka centres on Alex, a woman whose world has become one of dissatisfaction and disillusionment. Stuck in an unfulfilling job, reeling from a broken engagement and approaching her 30th birthday, Alex finds herself in the throes of an existential crisis, feeling the weight of societal pressures to have achieved certain milestones by a certain age. In search of solace and meaning, she escapes to the outback, embarking on a journey of self-exploration. “It’s a story about bravery, freedom, and self-discovery set against the stunning backdrop of the Australian outback,” Mara explains.

On this solo journey, Alex faces herself and her struggles alone, confronting the realities of her life and the expectations placed upon her. Mara was determined to portray this experience with authenticity, and her commitment to capturing an unfiltered, genuine feel for the film is evident in every frame. She states, “I wanted the film to be as real and raw as possible and really share the perspective of a woman on her own. That’s why we have such intimate scenes and some explicit content.”

Mara Jean Quinn in Andamooka.

This dedication extended to ensuring cultural sensitivities were respected with Mara going through the process of getting approval for filming from Traditional Owners of the locations featured in the film. This was a sensitive process because only a few permissions were secured before shooting, and most were obtained retrospectively. Mara found that identifying the right contact for obtaining approvals for the locations was a complex task. She learned that each region in Australia has a representative body, such as a land council, through which permissions must be obtained. Mara states “It’s really important to connect to the Traditional Owners of where you wish to film. Some places are forbidden to be filmed in and we made this mistake of filming whole scenes in these places and having to leave them on the cutting room floor as well as having broken the Law for that particular Nation. I am not a religious person but I do feel the spirit in those lands, and when you tune in you can feel when you’re not welcome.” For future projects Mara plans to connect to the Mob of that Nation and gain permission before shooting.

The landscape plays a huge role in Andamooka, prevailing as a character of its own and often serving as the only companion to Alex. The vastness of the stunning landscape is captured through beautiful drone shots and slow pans. Mara explains “I wanted to tell a personal and intimate story, conveying the intricacies of womanhood, while also presenting a distinctly Australian narrative. As Alex is dealing with her loneliness and heartbreak, she encounters Indigenous people in a meaningful way for the first time and finds herself opening up to a new perspective formed by connection with the land.”

The script for Andamooka wasn’t followed in a conventional manner; it evolved organically during the production journey. “Though we met certain story beats true to the original idea, we rewrote a lot of the script on the road,” Mara shares. “As they say, you can’t tell your story to the Territory. It will tell your story to you.”

Mara Jean Quinn in Andamooka.

The film’s themes of bravery, freedom, and self-discovery resonate widely, and Mara has been pleasantly surprised by the diverse audiences who have connected with Andamooka during test screenings. While she believes the film will deeply touch women in their 20s who are nearing 30 and feeling the pressure of that milestone, the experiences depicted—facing unexpected life changes, loneliness, and fear—are universal. “It’s a story that anyone, from all walks of life, can relate to,” she notes.

The on road crew consisted of just three people traveling over 7,000 km in two months, and was made up of Cinematographer and Co-Director Danni Ogilvie, Sound Recordist and Associate Producer Anthea Hilton, and Mara herself.

The casting process for the film was largely spontaneous, with all but two of the supporting characters being strangers and non-actors the team encountered on the road. This included two locals from Andamooka, a Japanese hitchhiker and a French beautician.

Mara Jean Quinn in Andamooka.

Mara recalls spotting Japanese Hitchhiker Kazuma while driving from Mount Isa to Tennant Creek, Danni and Anthea said, ‘Oh my God, can we pick him up?’ and I said, ‘Sure, if he’s willing to be in the film.’ So we did a “u-ey” and asked him if he’d like a lift, but only if he would be in our film. He thought it was the best thing ever—the poor fella had been hitchhiking for three days straight from Cairns and was absolutely exhausted. He kept falling asleep during takes, but he did a great job in the end”. Kazumas scene exemplifies Mara’s fluid storytelling, capturing unexpected moments as they arise. A key discussion with Kazuma, who was en route to hike Uluru, brings the issue of the rock’s closure and Indigenous land rights into sharp focus.

These encounters added a layer of authenticity to the film, with each actor bringing realness to their roles, making the characters relatable and heartfelt. Mara’s intention was that “You’ve met people like them, or maybe you haven’t, but they are relatable and soulful characters. Each actor had to improvise a lot, so they had to be able to repeat conversations and do a bunch of random listening faces that we could use to intercut between dialogue. You’ll see in the film that there are salt-of-the-earth locals from all different parts of Australia.”

The production of Andamooka was not without its challenges. The team faced various obstacles, including mechanical issues, Mara explains “Driving was a significant part of our adventure, and with it came the pressure of knowing I had borrowed money from my parents for the car so we needed it to make it through the journey in one piece. At one point, I nearly burned out the clutch while getting bogged on the “red dune” near Alice Springs. The car’s bushes wore out, and to top it off, the back windscreen shattered unexpectedly. But we took each challenge in our stride, knowing it was all part of the journey. And for that, I’m forever grateful to Mum and Dad for the car loan—it made this incredible adventure possible.”

Jenny Lightning and Mara Jean Quinn in Andamooka.

They were also racing against the seasons, trying to avoid being in Central Australia during the summer and the extreme dry heat that comes with it. The journey took them through the Queensland outback from Yuleba through Longreach and Mount Isa, past Camooweal, eventually crossing the border into the Northern Territory, heading to Tennant Creek and then Alice Springs where the team spent a month on and off, before continuing through the heart of Australia, passing Uluru, and into South Australia, stopping at Coober Pedy before finally arriving in Andamooka.

For the journey the small film crew had equipped themselves to be entirely self-sufficient, using a solar panel and pure sine wave converter to charge their cameras, sound batteries, laptops, phones, and manage the precious data. With a tight micro budget, making it stretch was key so paying for accommodation wasn’t really an option. That meant most nights were spent camping at free sites sleeping in swags and cooking most of their meals on the back of the ute tray.

Mara says one of their more gritty experiences was used for a scene in the film “One of the most challenging moments of our journey occurred when we set up our swags in the middle of a random backstreet in Coober Pedy, arriving in the dead of night. We awoke to find ourselves covered in fine sand, having slept through a dust storm. The sand was everywhere—even in our mouths.”

Kazuma Takano in Andamooka.

Throughout their journey there were plenty of those stark reminders that filmmaking is far from glamorous and life on the road is not always idyllic but Mara looks back at that time with fondness despite the challenges. “The close quarters of our ute, combined with spending every single day together for two months, certainly tested us all. Tempers flared, grumpy moments were frequent, and there were occasional clashes. But through it all, the shared excitement of creating a compelling story kept us going. We had set a goal of filming at least every second day, which sometimes added strain when all we wanted was to enjoy our surroundings or simply rest. Alone time was a luxury we couldn’t afford, and the constant need to be ‘on’ became our new normal. By the end of the trip, we had developed a unique way of seeing the world—our eyes were always peeled for cinematic opportunities. The journey brought us closer together, and along the way, we shared countless laughs and deep conversations that profoundly impacted each of us. For Danni, the trip was transformative; he decided to leave music behind in Melbourne, return to his roots in Cairns, and buy a Troopy (Landcruiser) to explore the outdoors up north and be near family,” she reflects.

The post-production phase of Andamooka was pivotal in shaping the final film, and Mara is full of praise for the dedicated team that brought it to life. “We had an incredible team who worked mostly out of passion,” she shares. Sound design was masterfully managed by Andy Wright, an Oscar winner for Hacksaw Ridge, with Soundfirm generously supporting the film by involving two junior sound editors Will Carroll and Megan Howieson, giving them valuable experience on a feature-length project. Justin Tran’s colour grading work visually transformed the film, skilfully bringing both Alex’s interior and exterior worlds to life by striking a delicate balance between cinematic artistry and realism. The score composed by Alex Markwell (The Delta Riggs) and brothers, Aiden McMillan and Dave McMillan, added depth and texture to the story. Used sparingly, the score complements Alex’s emotions and the natural soundtrack of the landscape without overpowering them. The film also features a song by Iluka, which Mara believes “really added such a different feeling of fun and light heartedness as the girlfriends catch up after some deeply melancholic moments experienced with Alex earlier on.”

There’s also a nuanced emotional track by Mara’s friend Alec Marshall and his band Blue Divers that encapsulates a quintessential Territory experience and prompts Alex to directly confront some of her preconceived notions and ideals.

Mara Jean Quinn in Andamooka.

Editor Nicole Thorn played a crucial role in shaping the final product, editing down 62 hours of footage to a tight 1 hour and 22 minutes. Her work was instrumental in shaping the story into a coherent narrative from the often improvised and off-script footage. Nicole worked tirelessly for months and poured her heart and soul into the film. “I don’t often meet people who seem to work as hard as me, but Nicole – she is a powerhouse, and so so talented.”

The involvement of acclaimed actor Aaron Pedersen (High Country, Mystery Road) as a producer and John Schmidt (Mastermind, Gardening Australia Jnr) as an associate producer during post-production brought invaluable guidance and support. Aaron’s active participation, beyond just lending his name, provided crucial validation and significantly contributed to the post-production process.

The film is visually stunning and cinematic, a testament to how great storytelling can thrive even on a micro-budget. Beyond the creator’s personal funding, the project was significantly uplifted by the generosity of donors through the Australian Cultural Fund and a small but crucial post-production grant from Screen Queensland. The film’s success was also made possible by the many talented creatives who generously donated their time and skills, ensuring that every frame resonated with passion and dedication.

Mara Jean Quinn in Andamooka.

As Andamooka prepares to make its mark at CinefestOZ, Mara is already looking toward the future. Although her immediate focus is on motherhood and content creation for a nonprofit, she remains eager to continue storytelling. “There are so many stories I want to tell, and I’m constantly collecting ideas. I hope to get the team back together for future projects. “There’s so much more to say. I just need the right backing to continue developing and creating these Australian stories,” she reveals.

Spanning over 5 years from conception to release, Andamooka stands as a testament to the power of personal experience, the magic of the outback, and the strength found in embracing life’s unexpected turns. Mara’s passion and dedication shine through in every aspect of this film, promising audiences an intimate and authentic cinematic experience.

Andamooka’s world premiere will be on Friday, 6 September at Orana Cinemas Busselton with a Q&A with filmmakers followed up with an encore screening on Sunday, 8 September.

Tickets available via CinefestOZ.

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