Last Stand to Nowhere is a stunning re-capturing of the classic Western genre by filmmaker Michelle Muldoon. With an all-female cast, the age-old struggle for law and order takes centre stage in this BC director's award-winning short film endeavour.

As the writer and director, Muldoon explores the Western realm with a hearty introduction— entwining dichotomous female relationships and with the original film’s shoot-out roots. 

The opening scene sees the disruption of an otherwise tranquil backdrop, as the feud between the Earp's and the Clanton's materializes. Muldoon churns together blood and dust in this fiery take on the iconic Gunfight at the O.K. Corral. The film’s length is one of quality, not quantity—offering more than enough bite by instantly immersing audiences in the world that the female protagonists dictate. With leading ladies including Chelah Horsdal (Wylona Earp) and Luvia Peterson (Ida Clanton), The Last Stand to Nowhere serves to fill the void of female representation in the Western genre. 

SAD Mag chatted with Muldoon about her inspiration behind the project, and what type of narrative she hopes to add to the world of cinema as her work continues to be recognized at film festivals around the world. 

SAD: How did you come to write, produce and direct your own work?

Michelle Muldoon: My first passion in life was sport, and in particular volleyball. I played at McMaster University and went on to a successful coaching career with high school and club teams once my playing days were over. I began writing short stories as a way to have something that was a personal expression. A friend in the film industry read my work and suggested I wrote more like a screenwriter. After hearing Anthony Zuiker of CSI speak at a conference I thought, ‘I can give this a try.’ I quickly found out I had a lot to learn, so I sought out instruction and a mentor. I began producing to continue my education in film. Directing became a natural extension of my coaching skills and I suppose there was no turning back.

SAD: From looking at your previous writing and directing history, it looks as if Last Stand To Nowhere is your first move into the Western genre. What inspired you to create this type of film? 

MM: I was helping build a cemetery for someone else's short film—which sounds odd to anyone not in film—and the location happened to be in the Western town known as Jamestown. It made me think of all those Westerns I watched with my father as a kid. I threw out to my companions that it would be great to film a show down on Main St with women for a change. Everyone agreed and later, when I would mention the idea every once in a while, people kept telling me they would love to work on a project like that. It seemed like a no brainer. I love the genre, but it needs to be re-defined for the 21st century and I wanted to be a part of it.

SAD: The film is described as a re-imagining of the iconic Gunfight at the O.K. Corral. What made this scene stand out to you, and how do you believe it is interpreted in your work?

MM: The Gunfight at the O.K. Corral is unique in several ways, and I think it's the perfect vehicle for what I hoped to accomplish with Last Stand to Nowhere. Firstly, it's a "true" story in that it's based on Wyatt Earp's recounting to screenwriter Stuart Lake. These men were real but the question of its truth is definitely in question. Secondly, it’s been featured so many times, from My Darling Clementine to Star Trek, that it is now almost mythic. Both Westerns and mythology are male centric. I want us to have a conversation about the Madonna/Whore imagery in Westerns and I want us to talk about the lack of narrative involving women who are agents of their own destiny.

SAD: The short is fronted by an all-female cast. What sort of message did you have in mind when using these traditionally 'conflicting' ideas, and how do you believe that came across in Last Stand To Nowhere?

MM: I feel Last Stand brings into question how our history as women is conspicuously slim in the historical record. I believe we also bring to light how women are often no more than accessories to the male narrative in film, which often leans heavily on mythology. Our women live in a West where survival is paramount. How you choose to survive has nothing to do with gender. We've had some very interesting reactions to this film because of that.

The truth is, I want people to feel a tad discombobulated at first. I want people to question why we don't see this type of storytelling. And I want people to see that there's no reason why we can't see more.

The path from idea to finished product is often a bumpy one—How does what you originally envisioned the film being like compare with how it eventually turned out?

MM: Our bumpy ride took place in pre-production. We had to turn to crowdfunding—because I think we were a little too far outside the box for some funding systems—but that turned out to be a blessing. We started building our audience right away. Then came the wait for an available Western town at a cost we could afford. Once that happened, everything started dropping into place. I am so fortunate to work with fellow producers Frances Flanagan, Maja Aro and Victoria Angell. It was the best of partnerships and made production everything I hoped it would be.

I had discussions with the cast about the story and their individual roles. I sent them some Westerns to watch, and then they started to chat within their sides of the showdown. They came prepared from the get go, and took what was on the page and made it richer for their efforts. Nothing ever finishes exactly like it plays in your head. That is the joy and gift of collaboration.

SAD: You were one of the few female directors invited to screen at the Almería Film Festival. How does that make you feel, and what can be done to promote female inclusivity in the filmmaking realm?

I am so proud of the team that got me to Almeria. If it wasn't for the producing team, cast and crew, it wouldn't have happened. Women are making strides, but few women tackle Westerns. I think women have a lot to contribute to the genre, and I hope we can inspire more of them to take a stab at bringing a fresh female gaze. I've received a few negative comments from men about what I've done to the heroes they grew up with. In my mind, that means it's even more important for us to break down this barrier. Great story is about universal themes, not gender, and the Western is all about universal human needs and the failings of hubris and ambitions.

SAD: Do you think you’ll create any more work under this genre? If not, what are your next steps?

MM: I'd like to see the Last Stand universe built and enriched further in a limited series. For that, we need to find financing. Our audience and following has been building. I know there's room for us in the current climate.

For me, there's no turning back. I'll never be the person who creates stories with women as victims. My women will always be flawed, damaged women who rise above their circumstances to enact their own destiny. This project has profoundly changed me. I hope it can, in some small way, enact change for others.

Check out the trailer for this female powered re-imagining of a Western classic, and keep your eyes peeled for future screenings in Vancouver—Muldoon’s hometown.