{"id":5972,"date":"2026-08-15T21:36:53","date_gmt":"2026-08-15T21:36:53","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=5972"},"modified":"2026-08-15T21:36:53","modified_gmt":"2026-08-15T21:36:53","slug":"director-frieda-luk-on-olivia-luccardis-sacred-creatures-role-and-the-fine-line-between-crazy-and-enlightened","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=5972","title":{"rendered":"Director Frieda Luk on Olivia Luccardi\u2019s \u2018Sacred Creatures\u2019 Role and the Fine Line Between \u2018Crazy\u2019 and \u2018Enlightened\u2019"},"content":{"rendered":"
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\n\tFor \u201cSacred Creatures\u201d director Frieda Luk, belief can be comforting, ridiculous, exhilarating and hard to explain.<\/p>\n

Read more Here\u2019s How to Watch Claressa Shields vs. Kaye Scott Boxing Live Online<\/a><\/p>\n

\n\t\u201cI\u2019m really fascinated by when people believe in something,\u201d she tells Variety<\/em>. \u201cOne person believes in something, and then a group of people, and then it slowly becomes this massive phenomenon. It goes viral.\u201d<\/p>\n

\n\tThat fascination drives Luk\u2019s debut feature, which world premieres in competition at the Edinburgh International Film Festival. Starring Olivia Luccardi, James Cusati-Moyer and Romina D\u2019Ugo, the Canada-Italy production follows three estranged siblings reuniting in rural Italy after middle sister Miriam (Olivia Luccardi) is released from psychiatric treatment following an experience she understands as a spiritual awakening rather than a breakdown.<\/p>\n

\n\t\u201cThis movie is my exploration of believing in something and belief,\u201d says Luk. \u201cMiriam has agency. She knows herself and she makes choices. However, when she becomes a figure that people rally around, people are imbuing her with meaning. When she becomes abstract, she no longer controls the message.\u201d<\/p>\n

\n\tThat uncertainty extends to the film itself, which slips between psychological drama, comedy and magical realism without settling comfortably into any of them. For Luk, the tonal slipperiness developed naturally from writing. \u201cI set up the situation and these characters, and as I\u2019m writing, I\u2019m following what they\u2019re doing. What I\u2019m waiting for is how they surprise me,\u201d she says.<\/p>\n

\n\tOne influence was Marco Ferreri\u2019s \u201cLa Grande Bouffe,\u201d the grotesque story of four men attempting to eat themselves to death. \u201cThe comedy is following through that premise in a serious way, because if you actually are going to eat yourself to death, you\u2019re going to have gastrointestinal problems,\u201d Luk says. \u201cIt\u2019s also very silly. It never takes itself too seriously.\u201d Italian cinema was integral to \u201cSacred Creatures\u201d from the start. Luk points to films of the 1970s, admiring their willingness to move between modes contemporary cinema can sometimes keep separate. \u201cA lot of the \u201970s movies, especially European ones, are completely in between genres.\u201d\u00a0<\/p>\n

Luccardi was similarly keen to avoid reducing Miriam to a diagnosis.\u00a0\u201cShe is healing from the lack of belief from people and everyone thinking that something was wrong with her,\u201d Luccardi explains, adding that Miriam feels \u201cmeant for something greater.\u201d<\/p>\n

There was another, less metaphysical piece of direction that unlocked the character: Luk told her Miriam was like a cat.<\/p>\n

\n\t\u201cShe\u2019s very much like: \u2018I\u2019m letting you in on my terms. No, I actually don\u2019t want you to touch me. I want to be a pet, but not like that,\u2019\u201d laughs Luccardi.<\/p>\n

\n\t\u201cI did a lot of cat direction,\u201d Luk dryly admits.<\/p>\n

\n\tAs Miriam grows more secure in herself, Luccardi subtly changed the physical quality of the performance.<\/p>\n

\n\t\u201cThere was more of a calmness in my breath,\u201d she says. \u201cShe was more relaxed and calm and just flowed. Before, she may have been a little more stressed and tightly wound.\u201d<\/p>\n

\n\tThat growing self-possession becomes visual in the film\u2019s party scene, where Miriam arrives in a voluminous yellow-green dress that immediately separates her from the room around her. There is something of Bette Davis\u2019 party entrance in \u201cAll About Eve\u201d to the moment: costume becomes a declaration of presence, allowing Miriam to suddenly occupy a different plane from everyone watching her.<\/p>\n

\n\tLuk wanted the dress to be \u201ckind of ridiculous looking, but also kind of chic,\u201d something that would \u201ctake up some space\u201d without seeming entirely out of place. \u201cMiriam is new and a little ridiculous,\u201d she says, with its uncontained \u201cfluffiness\u201d signalling \u201can irreverence to what has come before.\u201d<\/p>\n

Read more \u2018Lanterns\u2019 Bosses and Stars on How the Show\u2019s Grounded Approach Ushers in an \u2018Entirely Different Kind of Superhero\u2019<\/a><\/p>\n

\n\tLuccardi\u2019s relationship with it was rather less reverential by the end of the shoot. \u201cAt the beginning, it was great. At the end\u2026 I wore it a long time,\u201d she jokes. \u201cAs with every costume, you love it at the beginning and then you\u2019re like: \u2018Can we burn it, please?\u2019\u201d<\/p>\n

\n\tThe surrounding family remain skeptical of their sister\u2019s burgeoning allure to those around her. Luk, an only child who grew up surrounded by cousins, was amused by the way relatives can inhabit incompatible versions of the same history.<\/p>\n

\n\t\u201cThey\u2019re always competing,\u201d she says.<\/p>\n

\n\tThe instinct of creating a story that makes life easier to comprehend ultimately expands beyond the siblings.<\/p>\n

Luk grew up without religion, but many childhood friends were religious and invited her to churches and youth groups. Watching from the outside, she was intrigued by their ability to surrender themselves to faith.<\/p>\n

\n\t\u201cI would watch them read a text and believe in that text and treat it like this holy thing,\u201d she recalls. \u201cIt was really hard for me to give myself over to something like that.\u201d<\/p>\n

At Catholic services, she found herself captivated by the incense, clothing and ceremony.<\/p>\n

\n\t\u201cI was like: \u2018This is so fun and theatrical.\u2019 I can see how it could be really comforting,\u201d she says. \u201cThere\u2019s a community-oriented spirit to it. Being a fan of a big sport is kind of fun. Yelling at a team is fun.\u201d<\/p>\n

The director began thinking about fandoms, sports and social media with much the same curiosity. What separates a few people who regularly gather from a movement?<\/p>\n

\n\t\u201cWhat if people hung out, and then that becomes a movement?\u201d she says. \u201cA few people hang out, and then more people hang out. Then you do it regularly, and what happens?\u201d<\/p>\n

\n\tThe film is shot in Piedmont and Italy provided a fertile landscape for those questions. Luk recalls seeing reports about a teenage protester and wondering why there couldn\u2019t be a patron saint for protest, and what the origin story of a new saint might look like.<\/p>\n

\n\tBut after all that construction of a film, a family history, a faith and perhaps even a saint, the director isn\u2019t interested in providing audiences with a final answer about Miriam.<\/p>\n

\n\t\u201cI want people to come away examining why they believe in something and how,\u201d she says, \u201cand that there is a pleasure in believing something.\u201d<\/p>\n

\n\t\u201cYou never know if you are right or you are wrong. You might be wrong.\u201d<\/p>\n

\n\tOr, as Luccardi puts it: \u201cYou never know if someone\u2019s crazy or if someone\u2019s enlightened. Who knows?\u201d<\/p>\n

Read more \u2018How the F\u2014 Would You Get This Movie Made in America?\u2019 Christine Vachon, Film4, BBC Film Put \u2018Trainspotting,\u2019 \u2018Ratcatcher\u2019 and \u2018The Wicker Man\u2019 Through the 2026 Greenlight Test<\/a><\/p>\n

\n\t\u201cIt\u2019s a fine line.\u201d<\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Frieda Luk discusses Olivia Luccardi\u2019s mysterious role, faith, family and the line between \u201ccrazy\u201d and \u201cenlightened\u201d in \u201cSacred Creatures.\u201d<\/p>\n","protected":false},"author":1,"featured_media":5971,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[2695,4646,4647],"class_list":["post-5972","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-edinburgh-film-festival-2","tag-frieda-luk","tag-olivia-luccardi"],"yoast_head":"\nDirector Frieda Luk on Olivia Luccardi\u2019s \u2018Sacred Creatures\u2019 Role and the Fine Line Between \u2018Crazy\u2019 and \u2018Enlightened\u2019 - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=5972\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Director Frieda Luk on Olivia Luccardi\u2019s \u2018Sacred Creatures\u2019 Role and the Fine Line Between \u2018Crazy\u2019 and \u2018Enlightened\u2019 - 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