Matt Brodlie Jonathan Kier

Source: Upgrade Productions

Matt Brodlie and Jonathan Kier of Upgrade Productions

Upgrade has boarded global sales excluding Australia and New Zealand on the upcoming Australian horror thriller Penny Lane Is Dead and will commence talks with buyers at the EFM in Berlin next week.

Mia’Kate Russell, known for award-winning horror shorts Maggie May and Liz Drives, will direct what Upgrade described to Screen as a “high-energy mix of horror, action and suspense”.

Penny Lane Is Dead takes place during a scorching Australian summer in 1986 as three teenage best friends’ celebratory night at a beach house turns into a blood-soaked battle for survival after a prank goes horribly wrong.

The Sanctuary Pictures project is scheduled to begin shooting in the second quarter of the year, with major production investment from Screen Australia, in association with VicScreen. It was developed with the assistance of South Australian Film Corporation and Umbrella Entertainment, which retains distribution rights for Australia and New Zealand.

Julie Ryan of Late Night With The Devil, Ari Harrison of Talk To Me, and Andre Lima serve as producers.

“This film is a rollercoaster ride of love and chaos set against the rebellious spirit of the 1980s,” said Russell. “I’m excited to take audiences on this wild, unexpected journey with these girls and their crazy night at the beach.”

Upgrade co-founder Jonathan Kier added, “We are thrilled to bring Penny Lane Is Dead to EFM. This film is a standout in the revenge thriller space, featuring strong female leads, a killer soundtrack, and a story that will resonate with audiences worldwide.”

Screen Australia director of narrative content Louise Gough said, “Penny Lane Is Dead is a gripping feature debut from Sanctuary Pictures, poised to announce Mia’Kate onto the global stage. With an exceptional creative team and riveting storytelling, this film has the potential to engage audiences both locally and internationally. Prepare to be taken on a high-octane ride of feminist-lensed terror.”