“Eternally cursed to kill for her flesh-eating garden, a lonely Creole woman must choose between sacrificing herself or a new friend to her beloved garden.”
That’s the blurb for a fantastic new Southern Gothic short film, “The Garden of Edette,” directed by one of my favorite up-and-coming filmmakers, Guinevere Thomas, from Austin, TX.
Inspired by Thomas’s own Creole heritage and culture, the film has been shown at several festivals around the country, winning Best Short Film at the D.C. Black Film Festival and the Audience Award at the Black Filmmaker Rebellion Film Festival in Los Angeles, CA. If you’re looking for something fresh and creative to check out this Halloween, look no further than “The Garden of Edette.”
Drop The Spotlight got to sit down briefly with Guinevere Thomas to discuss her filmmaking journey and her award-winning thesis film, written by Thomas herself, along with Chiara Campelli and Melisande McLaughlin.
Serenity Bogert: Can you tell us about how you got into making movies?
Guinevere Thomas: Some of my earliest memories are sitting down with my family and watching Saturday morning cartoons. With my father being an animator, watching cartoons and animated films has always been a familial experience. I actually started off wanting to be an actress because I adored the Disney show, “That’s So Raven.” Ultimately, I ended up studying film in high school and journalism in undergrad at George Washington University. Then, I got my Master’s in Screenwriting at the American Film Institute here in Los Angeles.
S: That’s awesome! I heard you also interned at Jordan Peele’s company?
G: Monkeypaw Productions! Yes, that was an amazing experience. I learned a lot about the business of filmmaking there, and I got to work with so many cool people.
S: How did the idea for “The Garden of Edette” come about?
G: Around Halloween a couple of years ago, I was walking my roommate’s dog, Khaos, here in Pasadena. I happened to pass by a fruit tree. I got curious, and decided to try and pick the fruit – a habit I picked up as a little girl – when an old lady came out from inside the house. I was nervous at first, but it seemed like she was lonely and wanted to talk. Her garden was insanely full and beautiful, and she noticed I was curious, and asked me to come take a look at the garden. I asked her if she sells plants – because there were just so many! – when she said, “Oh, no! I couldn’t part with a single one of them!” Before I knew it, I felt a little creeped out and obligated to leave. Her quirkiness inspired the idea for the film.
S: What is your favorite shot in the film, and what does it represent to you?
G: For me, it’s the scene where Edette’s plant’s roots are pulling at her feet. That shot was a big point of contention production-wise, but we learned how to work with it. I thought the vines would have thorns to pierce her legs, but it ended up a lot simpler, just because of the budget. The garden is very much alive and a character in itself in the film. This shot represents the garden’s last chance to hold onto Edette and not lose her to [her new friend] Perri. The garden is screaming, “Please come back.”
S: That’s my favorite shot, too. I think it symbolises so much, with such simple imagery – we want to honor our past, but don’t want to be held back by some of its horrors and trauma.
G: Yes! I think that shot speaks volumes.
Personally, I’m still learning more about my culture and heritage every day, and I wanted to talk about that in the film. It was important for us to represent Creole culture in a respectful way, but still tell a story through a folk horror lens. My grandmother was the last in my family to learn Creole, and through the film, I wanted to tell a little bit about my story – I see myself in the character of Edette’s friend, Perri, who is youthful and curious about her own roots.
S: What did you learn in making the film?
G: The most profound experience I took away is the importance of ambition, but knowing when to pull back. I’m happy with what we were able to achieve with all the pie-in-the-sky ideas. I’ve learned more about how to make sure I’m getting across what’s important, and not crowding it with other minutiae.
S: It’s a stunning film. You and the team should be proud. I would love to see it become a feature someday!
G: That’s definitely the plan! I would like to have the proper resources to give the ideas I have justice, though.
S: In the meantime, what are your creative plans for 2026?
Right now, I’m working for C. Robert Cargill [an Austin, TX-based screenwriter known for Sinister, Doctor Strange, and The Black Phone], and a lot of my job is to write. I am always writing. I’ve just finished my own short film, and we are in the process of securing funding.
I’m also working on a slasher film with my fiancé in a similar vein to “Garden of Edette.” I love the Southern Gothic style, folklore, and dark, creepy things. I’m not into things like jump scares – I prefer unsettling, personal, scary stories. I’m reworking this slasher film idea, and taking my experience from school and internships to improve on it.
S: I can’t wait. Thank you for sitting down with me, and I look forward to catching up with you next year. Happy Halloween!
G: Happy Halloween!
“The Garden of Edette” is now available to watch for free on Vimeo.
Featured Photo at Top: Actress Mandysa Brock as Perri in “The Garden of Edette.”
