Frieda Luk’s directorial debut “Sacred Creatures” premiered in competition at the Edinburgh International Film Festival. The Canada-Italy production stars Olivia Luccardi, James Cusati-Moyer and Romina D’Ugo in a narrative centered on three estranged siblings who reunite in rural Italy after their middle sister Miriam is released from psychiatric treatment.
Miriam, portrayed by Luccardi, frames her hospital experience as a spiritual awakening rather than a mental health crisis. The film examines how belief systems form and spread, particularly as Miriam becomes a figure around whom others rally and project meaning. According to Luk, the protagonist maintains agency and self-awareness, yet loses control of her narrative as she becomes increasingly abstract to those observing her. The director described the project as an exploration of belief and how phenomena can transition from individual conviction to mass movement.
Luk drew inspiration from 1970s European cinema, particularly films that fluidly moved between genres without adhering strictly to categorical boundaries. She cited Marco Ferreri’s “La Grande Bouffe” as an influence for its willingness to treat absurd premises with serious commitment while maintaining comedic sensibility. The film itself reflects this approach, incorporating elements of psychological drama, comedy and magical realism without settling into any single mode.
Luccardi worked to avoid reducing Miriam to a psychiatric diagnosis, instead portraying a character seeking validation after experiencing disbelief from those around her. Luk employed unconventional direction, instructing Luccardi to approach the character’s physicality with feline qualities—selective with affection and independence. As Miriam gained confidence throughout the narrative, Luccardi adjusted her performance to convey increasing calm and relaxation. A pivotal party scene featured Miriam in a voluminous yellow-green dress intended to simultaneously appear both ridiculous and chic, functioning as a visual declaration of her transformed presence.
Luk grew up without religious affiliation but observed friends’ faith practices with curiosity, later reflecting on how belief communities, fandoms and social movements form through accumulated participation. Rather than providing definitive answers about Miriam’s spiritual status, Luk intended the film to prompt viewers to examine their own beliefs and motivations for holding them.
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