Vitoria Silvestre isn’t shy when it comes to communicating that she finds the world of Indie filmmaking thrilling. While she’s worked on productions starring legends like Sir Anthony Hopkins, there’s something about the fast-moving pace of a smaller film that excites her. When questioned about her role as production coordinator on Last Chance Motel, she states, “I had to juggle many responsibilities while keeping the production running smoothly. Daemon Hillin of Hillin Entertainment had already seen how I handle fast-paced shoots, shifting priorities, and the level of detailed coordination needed to keep an indie production running smoothly, especially on such a tight budget. Because Last Chance Motel was a practical-effects-heavy horror film with a tight schedule and limited resources, he wanted someone who was hands-on, adaptable, and comfortable juggling multiple responsibilities at once.” The popularity of practical effects is on the rise again as audiences experience CGI exhaustion due to the ubiquity of computer-generated aesthetics. The artistry of practical effects infers a production company’s commitment to crafting something unique at all levels
Stars like Joann Coleman, of Paul Thomas Anderson’s Oscar Award Nominated Licorice Pizza, and Chris Bartlett, of the Primetime Emmy Award Winning Series The Mandalorian, might be what initially attracts audiences to Last Chance Motel but there’s a great deal of depth to every aspect of this film. The co-director team of Danielle Harris and Scout Taylor-Compton brings a substantial amount of experience in front of the camera to this genre, and it shows. The demands of an Indie film require a nimble approach, often demanding the wearing of different hats by key members of the production team in order to reach the shared vision on time and on budget. With her own experience in both bigger and smaller budget productions, Vitoria professes, “On bigger budget productions, there are usually more resources and more structure, which allows creativity to exist in a different way. Departments are more defined, and there’s often more flexibility built into the schedule. On indie films, you’re often doing more than what’s written in your job description, simply because everyone is working together to make the project happen. On Last Chance Motel, there were moments when the producers, including myself, literally went through our own closets to help the costume department find what they needed. I also stepped in to give the art department extra support several times during the shoot when they needed an extra set of hands. Those moments really capture the spirit of indie filmmaking. It’s demanding, but it’s also incredibly rewarding because everyone is there out of genuine belief in the project. The extra effort feels worth it because you care deeply about what you’re making. On an Indie film like this, there’s very little room for mistakes, so everyone has to stay fully present and be ready to jump in wherever help is needed. I was often one of the first people on set and one of the last to leave, making sure everything was ready before we started and properly wrapped at the end of the day.”
Last Chance Motel is the story of a young “bride to be” who discovers that her entry into her betrothed’s family demands much more than she ever could have imagined. It’s a story of family, tradition, and determination. While the story follows a narrative, what makes this film so special is the emotional tension and release that has been sculpted by veterans of horror films. There’s a rhythm and a cadence that is both familiar and yet somehow unique to Last Chance Motel. This is rooted in the spark behind the camera with well-seasoned practitioners like the directing duo who are balanced with those like production coordinator Vitoria who, though still relatively new to film production, displays remarkable proficiency in “setting the table” for so much of the crew and cast. The standout moments which elicit fear and catharsis for the audience of this film owe just as much to the precision and planning off-camera as to the captivating performances in front of it.
Last Chance Motel has not yet had a wide public release. The film is currently screening on the festival circuit, which included a screening at the New York Horror Film Festival on December 4th. The planned release is expected in 2026, following its festival run.
Writer : Basil Thomson
Punit 
Ayushi Saini