An upcoming writer, director, and producer in the indie, filmmaker Cindy Stenberg has started her career on a high note with her work for Uncanny Pictures producing a slew of shorts and features for audiences. Now, in honor of Women in Horror Month, I talk with her about her early interest in the industry, founding Uncanny Pictures, and working on some of their projects.
Me: Hello and thank you for taking the time to do this. First off, when did you get into horror in general? What films specifically got you into watching horror movies?
Cindy Stenberg: My dad was a huge movie buff, so I guess it all started with him introducing me to films. The very first horror movie I ever watched was Anaconda (1997)—though I wasn’t exactly supposed to. I snuck downstairs to peek at it when I was seven, and that was my first taste of the genre. Beyond just the excitement of horror, I remember always wanting to play the villain when we played as kids—it just felt more compelling and fun. As an adult, that feeling has only deepened. In my opinion, horror has the unique ability to explore human nature and psychology in ways no other genre can.
Me: When did you first discover a passion for filmmaking? Were you always interested in the creative arts growing up?
CS: Like so many others, I dreamed of making my own Jurassic Park—to step into that world and bring my own stories to life. I was also fascinated by animation and wanted to create my own dark, twisted stories in the vein of Tim Burton’s work. But growing up as an outsider in what felt like the edge of the world, that dream seemed distant.
Instead, I turned to writing poetry and short stories. At the time, I didn’t think much of it, but looking back, those early writings have become an integral part of my filmmaking today. I really started trying around 18 or 19 when I finished high school by writing a feature-length zombie film as my final project. I did everything I could—reaching out to local film companies, taking on extra roles in bigger productions—but nothing quite took off. So, once again, I set the dream aside. I can also add, that I found photography when I was around 18 which for sure now in retrospect also helped me see through a lens differently and what I preferred as a director.
Then, at 28, everything changed. My filmmaking journey suddenly took off, with two feature scripts written and my 10th short film on the way.
Me: Coming from Sweden, what was the local scene like when you first started compared to the current state of the scene? Did that hinder your interest in the genre or force you to turn to the local cinema for inspiration?
CS: Since I used to live at the edge of the world, Kiruna, there was hardly anything going on there. So it was very difficult to do anything. Facebook groups weren’t really a thing yet, hard to collaborate and find people. The local cinema was closed during the entire summer. It’s a small town, so. At the age of 24, I think, I pitched an idea to the local cinema about making a Classic Horror weekend which they approved. That was my first successful event, and it was amazing to watch the classics on the big screen. I later worked with them for some years and helped out. Compared to today, where I live in Umeå it’s a huge difference. Facebook groups are all over with all genres, creative people all around me, grants and support from locals, etc. It’s here everything really opened up for me and I got a shot to believe in myself.
Me: Having worked on various aspects of film production, do you have any particular preference for working on any?
CS: I prefer to work as a writer first and foremost and as a director second. I like being a producer too mainly for the creative parts of building the plan for the film but I’m a very introverted person, so being able to sell the project is the hardest. And of course, that role takes up too much of my creative parts when actually shooting. I try not to produce when it's shooting days.
Me: As a major driving force in the production company Uncanny Pictures, what initially inspired you to become involved in the company? What do you provide for others through your work?
CS: I own this production studio, and honestly, it all started out of necessity. We needed a company to apply for grants, and when a friend who had one couldn’t assist with a project, I realized I couldn’t keep waiting on others. So, I asked myself—how would I do this on my own? That question set everything in motion. I started brainstorming names, sketching out the logo, and creating the cinematic intro, and in 2021, Uncanny Pictures was born.
As for what I provide for others? Well, hopefully, a hell of a fun time and a badass horror film to add to their reels! I do my best to secure funding where I can, but let’s be real—it’s indie horror, none of us are getting rich off this, haha. At the end of the day, I just love making films and having a great time doing it.
Me: Looking at the first shorts produced in “Atrophy” and “The Dreamcatcher” to more recent releases in “Sour Love” and “The Roots of Evil,” how have you seen your style or skills change over time?
CS: I’m not sure how others perceive the differences, but for me, it’s more of a feeling. Over time, I’ve grown bolder—trusting my vision, standing firm when necessary, and embracing my instincts. In the beginning, it felt like I was jumping in midair with no ground beneath me. Now, I have a stronger foundation, both in my creative confidence and my understanding of filmmaking as a whole.
There’s a huge difference between watching thousands of YouTube tutorials and actually being on set, leading a team. Today, I can articulate my vision much more clearly—whether through detailed pitch decks or project bibles—which has helped create a shared understanding among the team. That clarity fosters a more collaborative environment where everyone feels empowered to contribute ideas. And when we’re all on the same page, the process becomes not just smoother, but a lot more fun.
Me: When writing a new project, what's the one fall-back tactic that you're always able to draw inspiration from?
CS: I always turn to film music as my go-to source of inspiration. I’ll put a soundtrack on repeat that aligns with the vision I have for the script—whether it’s the Halloween score for a slasher or something lighthearted for a romantic or comedic scene. Music helps me immerse myself in the tone and atmosphere I want to create, making it easier to bring the story to life. It’s been my constant writing companion.
Me: Being the writer, director, and producer of these shorts, does it still challenge you to be involved in various capacities? How do you balance those priorities during a shoot?
CS: It can be incredibly stressful—I lost a lot of hair during The Roots of Evil, haha! But that experience taught me the importance of setting clear boundaries for myself. When I start feeling overwhelmed, I make it a priority to schedule free time and avoid stacking too many late or frequent meetings in a week. As the shoot approaches, I try to hand off producing responsibilities to a co-producer at least 14 days beforehand so I can fully shift into directing mode. Small rules like these help me maintain a clear mind, which ultimately benefits the project.
On top of filmmaking, I also work full-time in IT—so in a way, I’m juggling two full-time jobs. It can be done, but it’s definitely not for everyone. Finding time to unwind, be with friends, and take care of yourself is crucial. If you neglect that, the project suffers too.
Me: Do you recall having any odd or funny on-set stories about yourself or any cast/crew members from your projects?
CS: Oh, we have plenty of stories! But if I had to pick… Pontus Sundström, who I’ve worked with on many projects, often handles a lot of the audio work. People are always shocked when they find out that the frog sound in Atrophy isn’t actually a real frog—it’s just Pontus doing an eerily good imitation!
In the same film, I had to sleep alone in that house during the shoot, and I was terrified. The place didn’t even have a bathroom, so anytime I needed to go, I had to step outside into total darkness, completely alone. I barely got two hours of sleep each night during those four shooting days. It was definitely one of the most unsettling experiences I’ve had on set!
Me: What do you hope to achieve in the future for your work?
CS: My ultimate goal would be to get to make a feature one day, and even more ultimately, the zombie script I wrote when I was 19. I get that not just anyone gets to make a zombie film, it’s expensive and difficult. So I’ll hone my craft and maybe one day I will get to make it.
Me: How do you do to keep your creative energy flowing?
CS: Rest, have fun, watch a ton of movies and TV series, and play video games. Just stay within the creative mind and inspiration will come along.
Me: What else are you working on that you’d like to share with our readers?
CS: Right now, we’re working on two exciting events here in Sweden, but I can’t share too much about them just yet…
Aside from that, we’re deep into production on PIGEONHOLE, a psychological thriller/horror that blends live-action with motion capture and Unreal Engine animation. As an avid gamer, getting to merge my two biggest passions—film and video games—feels surreal. I feel incredibly lucky to bring this project to life!
It’s also one of the most personal scripts I’ve ever written, which makes it even more exciting. While we couldn’t secure full funding for the short (or the feature, which it definitely has the potential to become), we decided to move forward with a proof of concept for now. For updates, be sure to follow us on social media at @uncannypictures—we’d love your support!
Me: Lastly, being that this is our Women in Horror Movement, what special message do you have for any women out there looking to join in the industry in any capacity as you are one yourself? Thank you again for your time!
CS: To anyone out there who would like to go into the filmmaking business, as you see in my own story, it’s always gonna be ups and downs. But if I knew TODAY when I was young at 19 years old, I wish I had just believed in myself more and just gone out and done it. Today we have so much to aid us, being YT tutorials, our cellphones as cameras, or collaborations with people, nothing is stopping you but yourself. Nothing bad can happen. Just go out, try it, and have fun. And above all, never listen to someone saying you can’t do it, it’s a reflection of themselves and not You.
This interview ran as part of our 2025 Women in Horror Movement series. Click the banner below to check out all the featured interviews in this series:
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