HOLR is chatting with Canadian Filmmaker & Director Danishka Esterhazy.
In this exclusive Q&A, HOLR sits down with Danishka Esterhazy, a trailblazer in genre filmmaking known for her bold vision and distinctive directorial voice.
As the first woman to helm a Sniper franchise film, she’s redefining what it means to lead in the action genre. From blending intense practical effects to bringing a feminist perspective to cult classics like Slumber Party Massacre, she continues to push boundaries. Throughout our conversation, we explore her approach to blending signature style with established conventions, the immersive techniques that bring authenticity to her work, and the personal themes that fuel her projects—from trust and betrayal in Match to her passion for telling big stories in action and sci-fi.
As the first woman to direct a Sniper franchise film, how did you approach blending your signature style with the established conventions of the action genre?
Great question. Before Sniper I had directed many action sequences but I had not directed a full-on action film. And Sniper The Last Stand is wall-to-wall action. So, it was a new experience for me. But many of my signature directorial techniques – practical effects, visceral kill sequences, crafting dramatic scenes with cinematic imagery – those techniques work for action, too. It became a question of scale. More actors, more stunt performers, and a lot more guns. But I relished that challenge. Designing the big battle sequences was an absolute thrill.
Your work spans a range of genres, from horror to action. What draws you to these genres, and how do you bring your unique directorial voice to each one?
I love those genres. Because horror, thrillers, science fiction, and action each have a special fan base. So, each film feels like a conversation with friends. Because I’m a fan, too. I grew up watching horror films and action films and I love them. I love going to genre film festivals and comic cons. But within these genres, I always aim to create stunning imagery. For each screenplay I am given, I work to elevate the story with unforgettable visuals. And I always fight to make the characters three-dimensional. Because genre films have so many layers, they can say so much about the human experience, about the times we live in. It all goes back to that conversation with the audience. But it doesn’t work if the characters feel flat, fake, and stereotypical. This especially applies to female characters because they have been ignored and underserved by so many genre films in the past.
In Sniper: The Last Stand, you used military boot camps and practical effects to create a more authentic experience. Can you share some of the challenges and rewards of working with such immersive techniques?
It is all about authenticity. You want your actors to move like real soldiers. They need to know how to handle their guns, how to clear a room, how to take cover and return fire. Those aren’t skills that every actor has had the chance to develop. So, I organized a boot camp where the cast could train together. It was a warm-up for the actors who had done lots of action. It was essential training for the actors who were new to action. And it helped build our Phoenix team into a cohesive group. Practical effects are something I really love. In horror, that means in-camera effects using prosthetics and SFX blood – rather than relying on VFX for gore. It just looks better. For action, that means using real guns and blanks and squibs rather than relying on VFX muzzle flashes and VFX blood. It looks better and it makes such a difference for the actors. It brings an entirely different energy to set. It must be done safely – always – but it’s also a lot of fun. And finally, there are the explosions. If you can blow something up for real – do it!
Your remake of Slumber Party Massacre brought a fresh feminist perspective to a cult horror film. How important is it for you to redefine genre conventions, and how do you balance creative risks with audience expectations?
Well, I am a feminist, and I will always bring a feminist sensibility to my films. It’s non-negotiable. Sometimes it just means a subtle rewrite to flesh out poorly written female characters. Other times, like with Slumber Party, it becomes the point of the film. To mock outdated storytelling. To poke fun at the ridiculous gender stereotypes that still show up in many films. Genre fans are smart and they really know their cult films. So, it’s fun to include the fans in the joke. They recognize the homages, the easter eggs, the twists, and the reversals.
In Match, your upcoming horror project, trust, and betrayal seem to play central roles. What themes are you most excited to explore in this film, and how do you think they will resonate with viewers?
I am intrigued by the conflict between romanticism and exploitation. How do we keep our hopes for true connection alive in a world with so much abuse? How do we open our hearts, again and again, when our hearts are so easily broken and shattered? And what is the cost if we harden our hearts? What are the experiences that create a monster? Match explores some of these issues. It’s a very dark and layered script. I’m having an amazing time planning the scenes. I think it will resonate with a lot of people.
Looking back on your career, what do you consider to be your proudest achievement as a director? Plus, what’s next for you in terms of projects or genre exploration?
My indie feature Level 16 is one of my career highlights. I wanted that film to be my first feature, but it took 10 years to raise the funding. And we still had a very small micro-budget. But I wrote that film as well as directed it and it was a complete passion project. A female-driven dystopian thriller that I needed to make.
Coming up next, I want to direct more action! And more science fiction. I want to tell big stories.
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Published by HOLR Magazine
Image Credits: Pia Poppy