Exclusive: Director Joanna Tsanis Talks Her Psychological Horror Film 'The Killgrin'
- Romey Norton
- 2 days ago
- 4 min read
By Romey Norton - April 25, 2025
The name “Killgrin” is so chilling and unique—where did the idea for this malevolent entity come from? Is it inspired by any folklore, personal fears, or totally your own creation?
When I was 16, I lived in an area of downtown Toronto where there were a lot of $10 psychics. One day, I decided to get a spiritual reading done. The psychic told me that I had a problem with my ‘aura’ and, for a hefty fee, she could “fix it.” I didn’t have enough money.
Many years later, during the pandemic, I reflected on that moment and the various ways people engage with self-help when they’re struggling. I wanted to write a film about that, and I’ve always loved monster movies—the lore, the craft, the way the monster can live on beyond the film and enter the creature canon - so that felt like the perfect medium.
The Killgrin is what happens when someone is in so much emotional pain, it manifests as its own entity. It’s not based on any specific folklore, but monsters representing internal struggles are a staple in the horror genre. It speaks to something deeply human that we’re drawn to this mode of storytelling.
You masterfully walk the line between psychological horror and supernatural terror. How do you personally define that balance—and what scares you more: ghosts or grief?
Thank you! And that’s a great question. I would say grief. But in the case of this film, they are one and the same. We all have our killgrins.
The Killgrin thrives on atmosphere and slow-building dread, a style reminiscent of films like The Babadook or Hereditary. Were there any films or directors that influenced your approach?
Kiyoshi Kurosawa’s Kairo was a major influence—it’s an unforgettable horror film and the way it explores characters’ loneliness through the supernatural really stuck with me.
The Killgrin is character-driven, always tracking Miranda’s emotional state. From the cinematography to Miranda’s hair style- every department had a tracker of her emotional journey so we could reflect it on camera. We used silhouettes and intentional shadows to introduce characters and key moments—the Killgrin starts out as a bit of a shadow-Pokémon but evolves as Miranda’s journey progresses.
Early drafts of the script leaned more into a chaotic Sam Raimi style, but over time, I opted for more of a balance—leaning towards moody and atmospheric, though still keeping some levity.
I also drew some inspiration from Hellraiser for the creature’s look specifically.
The last 10 minutes are visually intense and packed with practical effects. How fun (or terrifying) was it to bring those gruesome moments to life on set?
Since the Killgrin (played by Leland Tilden) is born from emotional pain, it also is itself in pain. When the audience sees it, I wanted them to fear and pity it at the same time. In development, I created an FAQ sheet for the creature’s ‘rules’ which came in handy when developing the creature’s design (both visual and its sound). Working with practical FX is an absolute blast. I had the honour of working with award-winning studio Butcher Shop FX to build a fully practical creature, as well as brilliant creature designer Adrian Bobb, who truly brought this monster to life.
Miranda’s journey feels deeply personal, especially in how the film explores therapy, trauma, and vulnerability. Was there something specific you wanted to say about grief and healing through this story?
The story grew out of looking at how people cope with their internal struggles—whether it’s therapy, new age healing, mindfulness, or in some unfortunate cases, destructive habits.
The character Brian (Adam Tsekhman) parties and entertains constantly just to avoid being alone with his thoughts. Miranda (Konstantina Mantelos) is more of a ‘fixer’ - trying everything she can and chasing a permanent ‘fix.’ When we meet Miranda, she is introduced as a caregiver, something I have personal experience with. In this film, we see what happens when a caregiver needs to take care of herself.
Ultimately, both Brian and Miranda are doing everything but facing themselves. They don’t “look up.” (as Sam [Peter MacNeill] would say).
Sometimes the one thing that can give you the strength to face your inner demons is leaning on others. I hope that’s something people take away from this.
The chemistry between Konstantina Mantelos and Adam Tsekhman is such a highlight, their dynamic shifts from sweet to suspicious. How did you guide that tone on set without making it too heavy or too comedic?
With subject matter this heavy, it’s important to give the audience space to breathe. Adam’s character, Brian, really brings that balance. Also, sometimes even in the darkest moments - in both life and film— you just need a laugh.
After audiences have had a chance to sleep (or not sleep) after The Killgrin, what do you hope is the one thought or feeling that lingers with them the most?
I wanted this film to feel like the kind of movie you’d find in the horror section at Blockbuster—the one you rented just because the poster looked cool. You watched it, loved it, maybe even rented it again… or maybe you never returned it at all. Then years later, a random scene flickers back into your mind and you think, What WAS that movie? What was it called? You spend days casually googling, trying to remember. Then at some point -likely mid-conversation with another horror fan- it hits you. You race home, rent it on VOD, curl up with your laptop, and settle in for some nostalgic indie weirdness.
And finally, is there any advice you have for filmmakers trying to navigate the industry?
Don’t create barriers for yourself—just go for it! Your first short film doesn’t need a big budget. The first short I directed, Imagine a World, was shot at my parents’ house on a discontinued Panasonic camcorder. Yet the relationships I built from that short’s festival run led to me getting The Killgrin greenlit.
And go to as many festivals as you can—especially the small and medium-sized ones. Not only do those festivals have remarkable people running them, but they are less likely to separate short filmmakers from feature film teams. So it’s easier to connect with people you want to grow with.
Build genuine relationships. Stay in touch. And most importantly—make friends. The horror community is so special. In such a rollercoaster of an industry, having a film family makes all the difference.
Read our review HERE
The Killgrin is out now on digital platforms
