Turning Fear into Film

Gobstopper is essentially a love story between two sisters and their mother. While not strictly autobiographical, the film’s emotional core is rooted in Jo’s own experiences. Following the loss of her mother in 2021, Jo found herself grappling with a fear so intense it triggered physical reactions she had not experienced since childhood.

“No one ever told me that grief felt so like fear,” Jo reflects, quoting C.S. Lewis. “Losing my mum made me feel like a small child all over again. That fear of abandonment is the emotion of the kidneys and the bladder”.

This raw vulnerability translates on screen through the character of Ash, a 15-year-old carrying the weight of her family’s future. Jo’s background in youth and community work also informed the production’s ethos, leading her to hold open casting sessions at local schools to find emerging talent from diverse socio-economic backgrounds.

The Art of the Accidental Headbutt

One of the film's most talked-about moments is a high-stakes confrontation involving an electronic tag and a mother’s fierce maternal instinct. Jo worked closely with a fight coordinator and an intimacy coordinator to build chemistry between the actors, but even the best-laid plans can lead to real-world intensity.

During the shoot, a choreographed headbutt became all too real. “There was an actual, accidental headbutt in the filming, which was horrendous,” Jo admits. “The mother who headbutted the actor used to be his acting teacher, so they were almost too comfortable with each other!”. Despite the first-aid situation and Jo’s own tears of worry, the cast insisted on continuing, resulting in a scene of startling naturalism that has since caught the eye of industry heavyweights like Prano Bailey-Bond.

"Fear is experienced in your mind, but it triggers a strong physical reaction in your body; it is the emotion of the kidneys and the bladder." - Jo Lane

Beyond the Festival Circuit

For many early-stage filmmakers, the festival circuit can feel like the only path to success, but Jo’s journey with Gobstopper suggests otherwise. While the film found success at festivals like Women X and Aesthetica, Jo emphasises that festivals are not the be-all and end-all.

The film’s second lease of life came from its eventual online release where, Gobstopper reached a massive global audience, leading to critical acclaim and further opportunities.

Jo attributes her ability to keep producing work to her time with the Kino Kabaret movement, which focuses on making films quickly and collaboratively without the constraints of traditional funding.

Her advice to emerging filmmakers is simple: keep oiling those muscles and stretching your storytelling skills, regardless of whether you have a large budget or a festival slot.

Next Step: Want to see more of Jo’s work or connect with her? Check out Jo Lane’s CenterFrame profile here.

NATHAN HAINES

Co-Founder & Filmmaker | CenterFrame Team

Check his profile on CenterFrame