A mercy killer sets out to euthanize a “terminally-ill” patient and discovers that his procedure is the crux of an elaborate cult ritual that tests his ethics like never before.

Interview with Director/Writer Grayson Whitehurst

Congratulations! Why did you make your film?

Thank you! A Handful of Dust is inspired by a number of things: the real experiences of Jack Kevorkian, or "Dr. Death”, films of the occult like Ben Wheatley's Kill List and Robin Hardy's The Wicker Man, and, perhaps most significantly, what it feels like to lose someone close and have no control over their demise. I've endured some immense traumas up to this point in my life and the entire creative process, from pre to post- production, functioned as a deeply cathartic exercise for me. I'm very thankful to have had the opportunity to reflect on some deeply personal vulnerabilities with a film and story that take the viewer on a unique, dreadful journey - hopefully one that leaves them with more questions than answers.

Imagine I’m a member of the audience. Why should I watch this film?

The film is harrowing, spiritual, and rooted in character. Drama and horror intertwine in a fashion that elevates both genres simultaneously, and the story is truly one of a kind (our protagonist is a mercy killer). The key cast (Atticus Cain, Eileen Weisinger, and Dannah Basgall) deliver some remarkable performances and the tension between them is inimitable. The score, composed by Gavin Brivik (Blumhouse's CAM), is beyond haunting, and the film closes with an incredible title sequence designed by Australian duo It's Got Stealth (The sequence was a finalist in SXSW's Title Design Showcase). These elements combine for a viewing experience that shouldn't be missed by anyone who appreciates an intense, thought-provoking visual narrative.

How do personal and universal themes work in your film?

I think there's a deep exploration of themes like sacrifice, ritual, and consequence; however, the most compelling thematic dialogue exists in the discussion of how this can be considered a horror film. The narrative explores the nature of ethics and intention through a tale of ritualistic sacrifice that comes with irrevocable consequences. I find the "irrevocable consequences" to be where the true horror lies - tropes like ghosts and jump scares can be quite frightening...but having someone you trust use your own benevolence to dismantle you is absolutely horrifying.

How have the script and film evolved over the course of their development?

The script was in constant flux until we found the shooting location (Mariner's Country Down in Berlin, MD) and, even after that point, adjustments were constantly being made based on developments in rehearsal. The script endured further changes during the shooting period (very minor), but all in all, the vision was executed as efficiently as possible. The first cut of the film after the assembly was 20 minutes without credits, and we eventually whittled it down to 18 minutes with a credit sequence. If we cut it any further we'd be doing a disservice to the story!

What type of feedback have you received so far?

Overall the feedback has been quite positive! The film is in the midst of a budding festival run and several reviews have suggested that the short be developed into a feature. The Q&A's at festivals have also been a phenomenal experience. One of my favorite moments arose during the Pendance Film Festival (Toronto, CA) when our lead (Atticus Cain) was asked about his experience working on the project - he put it second only to his experience working on the feature The Perks of Being a Wallflower. That's exceptionally high praise for a short! The cast and crew poured copious amounts of time and energy into the project and watching it bloom in the narrative sphere is an exciting chapter for all of us.

Has the feedback surprised or challenged your point of view?

While the feedback has been positive on the whole, there are definitely critiques that have prompted me to reflect on my storytelling techniques. One of my close mentors knew that Dr Neal Goodman was the protagonist of the film and understood his motivations, but felt that the visual approach could've been more oriented around his personal perspective. This was a critique I took to heart, and rightfully so - despite the fact that all of the key characters have impressively large stakes at hand, it's still Neal's story. The story is effective as it stands, but having more private moments with Neal would have made it more of HIS story as opposed to an objective tale of consequence.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

Carmela reached out and I heard of the site beforehand, so I thought it was a perfect exposure opportunity. I also love the questions you've asked - it's a pleasure to share these insights with you and the We Are Moving Stories audience.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

We are currently in the process of identifying a home for the film following its festival run. If you are a distributor or film festival director that has taken interest in the film, please don't hesitate to reach out!

What type of impact and/or reception would you like this film to have?

I hope that audiences feel refreshed with a narrative that is entirely unique in its premise and is fascinated with the elements of drama and horror that are executed onscreen. I also hope that anyone who has endured tragic, the personal loss can be moved or inspired in a way that encourages them to do the same.

What’s a key question that will help spark a debate or begin a conversation about this film?

Is euthanasia an act of mercy or murder? Are there any instances in which the priorities of an individual take precedence over those of a greater good?

Would you like to add anything else?

A huge thanks to Arri, Cooke Optics, Company 3, SAG-AFTRA, New York University, and Rainfall Ventures. The film wouldn't exist without these institutions and I look forward to working with them again in the future.

Our next screening will be on March 23rd at Kaufman Astoria Studios for the Queens World Film Festival where we've been nominated for both Best Film and Best Cinematography. If you're in the greater NYC area, please stop by!

What other projects are the key creatives developing or working on now?

A mixture of commercial and narrative work - all of us are quite busy! Our producer, Taylor Haley, is hard at work on a documentary feature. Our DP, Jackson Tisi, has directed a number of viral music videos and documentary spots since the film's release. The rest of the cast and crew are constantly working on incredible projects, too! I'm currently in development on my debut feature and in pre-production on a short narrative film that will be shot at the beginning of the summer. Very excited for what's to come!

Interview: March 2019

We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, horror, world cinema. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela

A Handful of Dust

A mercy killer sets out to euthanize a “terminally-ill” patient and discovers that his procedure is the crux of an elaborate cult ritual that tests his ethics like never before.

Length: 18:05

Director: Grayson Whitehurst

Producer: Taylor Haley

Writer: Grayson Whitehurst

About the writer, director and producer:

GRAYSON WHITEHURST is an award-winning writer/director who recently graduated from The Maurice Kanbar Institute of Film/Television at New York University. His narrative work has toured festivals worldwide and his commercial work has been televised internationally. Beyond directing commercial and narrative short form, Whitehurst is currently working on developing his debut feature.

Since discovering her passion for "creative clearance," or meeting creative visions with pragmatic goals, TAYLOR HALEY has worked alongside a number of directors to make their dreams a reality. Currently, Taylor is producing a feature documentary following soul legend Lee Fields.

Key cast: Atticus Cain (Dr. Neal Goodman), Eileen Weisinger (Lilith Angler), Dannah Basgall (Alice Angler)

Looking for: distributors

Facebook: A Handful of Dust

Instagram: @ahandfulofdustfilm

Website: www.ahandfulofdustfilm.com

Other: IMDB

Funders: Festival submissions commissioned by Ron Rofé (https://www.rainfall.com)

Where can I watch it next and in the coming month? Queens World Film Festival/Queens,NY - March 23rd, 2019; Maryland International Film Festival/Hagestown, MD - March 29th, 2019; Garden State Film Festival/Asbury Park, NJ - March 30th, 2019; Sarasota Film Festival/Sarasota, FL - April 6th & 7th, 2019; RiverRun International Film Festival/Winston Salem, NC - April 6th & 13th, 2019