Film Threat contributing editor Bradley Gibson recently spoke with writer-director Jack Serra about his dark comedy short Luxor, which is currently headed for the festival circuit.
Luxor follows Victor (Jack Michael Ryan), an unambitious delivery service gig worker, who is sent to pick up lottery tickets for an elderly woman on the eve of the popular Luxor lottery. Victor is drawn into an escalating situation, including a death. Events spin further out of control as Victor finds himself with an unexpected fight on his hands, and an opportunity to change his life forever. The film is a delightful dark romp, with some surprising twists and turns. It covers a lot of ground in 8 minutes. Serra’s career has included short films, music videos, and feature films. Luxor started with a family member’s love of casino gambling.
“The inspiration for Luxor actually came from my grandmother. She’s a huge fan of casinos, and I’ve always loved seeing how much joy they bring her. At the same time, I’ve watched people my own age develop gambling addictions, and I’ve even caught myself getting pulled into that mindset a little. The gambling aspect was really just the starting point. I know this is nothing new, and plenty of people have commented on these ideas before, but I wanted to put my own spin on them. Whether it’s online gambling, live streaming, social media, or the constant pursuit of instant gratification, I wanted to explore how easily people can become consumed by chasing the next hit of dopamine, while telling a story that’s entertaining first.”
You’ve crafted a highly polished film that stands out from a lot of shorts we see. What were the challenges in getting the production off the ground?
“I appreciate that. Luxor was made on a modest budget and was almost entirely self-funded, so getting it off the ground definitely had its challenges. Fortunately, I was introduced to producer Evelyn Tang from AFI and first assistant director Grayson Shapiro, who really helped build the project from the ground up. Creatively, I was lucky to have an incredible art department that I’d collaborated with before, and this was my first time working with cinematographer Tom Bolles, who was an absolute joy to collaborate with. We’re already working together on our next project.”
Is short film your medium of choice, or do you prefer to work in a variety of formats?
“As of right now in my career, short films are definitely my medium of choice. Like most filmmakers, I’d love to make features, but they require a much larger amount of financing, and shorts are often the bridge that gets you there. Beyond that, I genuinely love the format. A short film forces you to be economical with your storytelling and make every scene count. It’s a great creative challenge, and it’s also allowed me to experiment, grow as a filmmaker, and build relationships with collaborators that I’ll hopefully continue working with on larger projects.”
How did your experiences on other films inform Luxor?
“Honestly, it’s all been a bit of a domino effect. I wouldn’t have been able to make Luxor without the projects that came before it. Every film teaches you something, whether it’s about directing actors, working with a crew, or simply becoming a better storyteller. Luxor was also a major shift in tone for me. Most of my previous work has been much darker and more dramatic, whereas this film leans into comedy before eventually taking a darker turn. From a technical standpoint, I think it’s my most polished and well-rounded film to date. As a filmmaker, all you can really hope for is that each project is a little better than the last.”
Victor reminds me of The Dude in The Big Lebowski, is that intentional, or is he a garden variety slacker? Is he based on anyone you know?
“I think Victor is someone I’ve encountered many times throughout my life. I’ve met people like him here in Southern California, but I also knew people just like him growing up in Alabama. They’re kind-hearted and they mean well, but they have very little ambition and tend to avoid responsibility whenever they can. I don’t think Victor is a bad person. He’s just stuck. I actually find something endearing about someone who doesn’t constantly feel the need to prove themselves or live with that constant anxiety to achieve.”
What’s in his vape? Is he high all the time?
“Just nicotine. He smokes other things when he gets home.”
There is a point in the film when what has been a goofy situation turns dark and there are fatalities. How did you manage the tone shift there, to steer it toward dark comedy?
“I think it’s really about knowing where your story is ultimately going and keeping that destination in the back of your mind from the very beginning. It’s something I’ve always struggled with, balancing different tones and mixing them together. I really tried to approach it much more gracefully on this project.”
Is it a challenge to direct the actors making that shift in energy?
“Normally, I’d say it is a challenge, but Jenny O’Hara and Jack Michael Ryan were such a pleasure to work with. Jack comes from more of a comedic background, while Jenny comes from the more traditional Hollywood system. They each brought something different to their performances, and that combination created a really nice balance and a shared understanding of who these characters were.”
Where is the line between shocking your audience and making them laugh?
“I wish I knew. I do know the line is incredibly thin. A sequence can be perceived as comedic one moment and genuinely disturbing the next. I think Luxor walks that line during the action sequence, where something that feels funny is immediately followed by a shockingly violent moment. Finding that balance is one of the hardest parts of making a dark comedy, and it’s something I’m still learning.”
