Director Jeff Wadlow has released ‘The Devil’s Mouth,’ a shark thriller now streaming on Prime Video, which he describes as the most physically demanding project of his career. The film stars Kathryn Newton and Lana Condor as best friends trapped in a freshwater cave system in Thailand alongside college companions played by Gavin Casalegno, Tommi Rose and Nico Hiraga. The screenplay was written by Aja Gabel and Myung Joh Wesner and appeared on the Black List back in 2019.
Wadlow initially resisted taking on a straightforward shark film but became intrigued by the one-location concept, which blended shark movie conventions with claustrophobic horror elements. Casting Newton and Condor involved roles that departed from their typical character types—Newton played a more introspective character while Condor took on a role with greater edge. Before production began, the cast spent two weeks training in water work, including treading water, breath-holding exercises, and kayak training. Wadlow notes that Newton performed a 35-foot cliff jump into shallow water, while the other actors executed their own stunts involving rock climbing, diving, underwater sequences, and work with winches.
The production encountered significant logistical challenges. Originally planned for Mexico and the Dominican Republic, the shoot relocated to Bangkok with only 10 days’ notice after soundstages and crews became available. Wadlow, who has a severe peanut allergy, required specialized personnel to ensure his safety during the six-month filming period. For authenticity, he researched Thai freshwater cave systems where rescue divers train and referenced the widely publicized incident involving a soccer team trapped in a flooded cave system.
The production design involved constructing 13 sets across two soundstages to simulate an expansive cave network. Production designer Alec Hammond and director of photography James Kniest solved numerous technical obstacles, including custom-designed headlamps for actors and underwater camera housing systems that prevented traditional filmmaking techniques like dollies, steadicams, or handheld shots. Camera operator Pete McCaffrey worked extensively with a technocrane to achieve specific visual movements. The combined cave sets—one 120 by 70 feet with five feet of water and another 60 by 70 feet with 15 feet of water—required creative lighting and set rotation to create visual variety.
Wadlow reflected on the film industry landscape, noting that while lower production costs in Thailand contributed to the project’s feasibility, he prioritized making the location integral to the storytelling rather than treating it merely as an economic advantage. He observed that despite recent successes in independent filmmaking, major studios remain hesitant to fund emerging filmmakers working in this genre space, suggesting that creating distinctive films continues to require considerable effort and determination.
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