Cut to the Heart: Mercedes Bryce Morgan for BONE LAKE

You better have a safe word

What happens when a romantic lakeside escape turns into a tangled web of lust, lies and deadly secrets? This is all part of the dark and hilarious nightmare that plunges us all into Mercedes Bryce Morgan’s latest film, Bone Lake — a story about a couple’s dream vacation gone sideways when a mysterious, seductive pair crashes their secluded mansion retreat, sparking a twisted battle for survival.

Mercedes isn’t new to any of these shenanigans with the award-winning writer/director having already carved a name with the release of her pandemic-shot debut, Fixation, premiering at TIFF in 2022 and earning rave reviews as one of that year's most intense horror rides. Her follow-up, Spoonful of Sugar, landed on Shudder the same year, showcasing her intense grip on suspenseful storytelling. Recently taking time out to answer questions, Mercedes shared her approach and influences...

What attracted you to Joshua Friedlander’s script for Bone Lake, and how did the idea come about?

My management sent me the script — probably because they know I’m drawn to projects that have this erotic, wild, heightened energy but still manage to weave in the comedy. When I read it, I couldn’t put it down. The plot twists had me gagged — laughing out of shock one second, locked in with tension the next. That mix made me know instantly I had to do it. I wanted to give the audience that same rollercoaster ride.

I’m really interested to hear about what the development process was like and the direction you took with the script.

As a director, I plan and shot-list obsessively. This story starts as an erotic thriller and then slides into full horror, so I designed the visuals to follow that arc. At first, the colours feel warm, sexy, almost like a vacation, then we shift into bold Giallo lighting and heightened performances once the antagonists enter. I wanted the visual tone to evolve alongside the story.

The film seems to wear its influences on its sleeve (Funny Games, High Tension, a touch of Evil Dead?), while remaining fresh and surprisingly breezy for such intense material. What’s the secret to the balancing act of tone on display here?

Those influences were huge, but Ready or Not was another big one for me. It’s a wild, comedic movie, but the protagonist is played completely straight, which grounds the whole thing. For me, Bone Lake needed to be a fun theatrical ride. The material is so heightened — if we’d taken it too seriously, it would’ve been a disservice.

“Influenced,” but you still have a strong visual storytelling style. Were there any specific visual motifs or metaphors you used in Bone Lake to deepen the narrative?

I tried to infuse as much sexual energy into the visuals as possible. One example: Sage is talking to a naked Will by the lake, and the next cut is a bite into a breakfast sausage. It’s cheeky but loaded. I also wanted small moments to feel memorable — like when Will pounds on the lock, we actually become the POV of the lock itself, turning with each hit.

Seeing red. Mercedes behind the camera on BONE LAKE.

Bone Lake explores isolation, trauma, generational secrets, and relationships in a very interesting way — you manipulate almost as much as the antagonists. What core theme resonated most with you as a filmmaker?

The idea that everyone’s playing a game — but not always by the same rules. That’s true in the deadly situation the characters find themselves in, but also in their personal relationships. When people don’t communicate, it’s impossible to be on the same team.

What scares you personally — and did those fears find their way into Bone Lake?

For me, it’s people being untrustworthy and unethical. Not everyone will face an exorcism in their lifetime, but betrayal and manipulation? That’s real, and it happens all the time.

Having also made short films and directed music videos, what specific techniques and tricks of the trade from these shorter forms of visual storytelling have stuck with you that you often pull out of the hat on features?

I treat all my projects — whether commercials, music videos, or features — as visual playgrounds. Shorts and videos let me experiment, figure out what’s effective, and learn how to practically execute those ideas. That experimentation really shaped my style and gave me a toolbox I constantly pull from.

Girl interrupted. First slide: Maddie Hasson as Sage. Second slide: Andra Nechita as Cin.

What are the main things you have learnt from your previous projects: 2022’s Fixation and Spoonful of Sugar? Especially in evaluating what has worked for you so far as a filmmaker… and what hasn’t.

I feel like every project teaches me something new. With Fixation and Spoonful, I learned how far I could push style while still keeping the audience invested in character. With this, I wanted to make even more of a popcorn movie that would truly be a theatre-going experience.

“I treat all my projects — whether commercials, music videos, or features — as visual playgrounds.”

— Mercedes Bryce Morgan

This is a film that really keeps people on their toes. What was it you were conscious of the most in not trying to reveal things too early?

Thrillers are all about the who, what, when, where, and why. I didn’t shy away from the “who” because audiences are very smart nowadays, so the fun was in holding back the “why” and the “when.” Those reveals are what keep people off balance, and based on the reactions we’ve had, that strategy worked.

Independent films often face limitations — did this force you to become more creative with any specific sequences?

Definitely. This is a full indie and contained film with a super tight schedule. But with careful planning, a killer crew, supportive producers, and the commitment to pull off the death set pieces right, we managed to turn those limitations into creativity.

Killer couple? First slide: Cin stalks. Second Slide: "Partner" Will, played by Alex Roe.

What was the most challenging scene to shoot, technically and emotionally?

The storm sequence at the end. We were filming in Georgia when a real storm hit mid-shoot. Later, we had to finish the scene on a soundstage in LA — so what you see is a blend of real storm footage and movie magic. Because we leaned on so many practical effects, it took time and precision to make it feel seamless and real.

Tell me more about the leads. Was there a specific process you all had in workshopping the characters and how did everyone approach their roles?

I wanted the antagonists to feel completely grounded, so the audience could relate to them even in these insane circumstances. With Marco Pigossi and Maddie Hasson, we rooted every choice in emotional reality — even when chainsaws were involved. That balance between heightened and grounded was key.

Caught on camera. Sage and boyfriend Diego (Marco Pigossi) uncover sinister behaviour.

Was there a particular actor or scene partner whose interpretation surprised you and influenced how you approached the scene?

Yes — Alex Roe and Andra Nechita. In a hallway scene, they suddenly broke into this celebratory dance. It wasn’t scripted, but it was perfect — a joyful, unexpected beat right before things take a turn. It shifted how I thought about that moment, and we kept it.

Are there any particular stories or other genres you would like to explore next?

I’m a die-hard fan of erotic thrillers and horror, so I’ll keep working in those genres. But I’m also obsessed with anything heightened, so surrealism with a comedic undertone is definitely where I’m headed.

If audiences walk away from Bone Lake with one lingering question (or feeling), what do you hope that is?

One of my favourite reactions so far has been couples comparing their own relationships to the ones in the movie. That’s exactly what I want — this film as a playbook of what not to do. If someone’s life ever depends on their relationship communication skills, I hope they’ve had those heart-to-hearts — or gone to couples therapy — beforehand.

You can follow Mercedes on Instagram @mercedesbrycemorgan. Bone Lake is in Theatres October 3, 2025. Purchase tickets here.