Chris Miller
How far would one man go to confront his past and fight for justice in a land torn apart by conflict and corruption? This is the premise of Epic Pictures latest action film, Lost Horizon. The official description reads: Lost Horizon is a thrilling tale of betrayal, survival, and redemption set against a backdrop of war and criminal activity. Former soldier Michael Foster (Tom Fairfoot) must rescue a war correspondent from a sinister doctor and later lead a daring operation to save a colonial’s daughter from rebels. As he navigates the dangerous web of poaching and rebellion, Michael uncovers a conspiracy and faces off against ruthless foes in a climatic showdown.
South African filmmaker Patrick Garcia—an award-winning director, editor, VFX specialist, and longtime architect of micro-budget productions that punch far above their weight, directed the film from a script by Jakob Breed. When discussing the film, Patrick says, “In a land still healing from the remnants of war, a team arrives to finish a job. But what they discover is that some wounds don’t heal — they open doors. Lost Horizon asks: will you walk through them, or run from them? My mission with this film was to tell the story of a civil war through the eyes of veteran Michael Foster — to explore his internal wounds, the moral debts, and the silent treaties we sign with ourselves.”
In the below conversation, Patrick opens up about everything from rewriting the script under an impossible deadline to shaping the film’s sonic landscape.
How did you initially become involved with Lost Horizon?
Following the success of our previous feature films, I was approached by Saturn Media House with a novel they had acquired, Oos Van Pafori, an Afrikaans book they were considering adapting into a feature film. While the script for Lost Horizon is entirely original, the novel planted the initial seed for the film’s backdrop—a civil war in an African country. With less than three months before principal photography, I had to develop new characters and an entirely new narrative set in a contemporary era. I also chose to make the film in English rather than Afrikaans to enhance its commercial appeal for the international market. Having worn many hats, as director, writer, and post-production company owner, I always consider the post-production requirements from the outset. This approach allows me to determine the full budget of the film and ensures we remain within the production constraints when planning our shots.
How much of the action was done practically versus relying on VFX, and what guided that balance?
Most of the scenes in Lost Horizon were shot practically and with no greenscreen. Our onset SFX team used specialised paintball rounds that produced real sparks and wall hits, which significantly enhanced the actors’ performances by surrounding them with genuine, reactive elements on set. We also relied on real pyrotechnics and explosives for all the war sequences and vehicle explosions.
The only visual effects added in post-production were the muzzle flashes and shell discharges from their weapons, which eliminated unnecessary on-set risks and helped keep costs under control. We used real aircraft, authentic aerial drone footage, genuine combat techniques, and practical stunts wherever possible. Our goal was to make the film feel as authentic and tactile as possible within the constraints of the budget.
Every production has its “we’ll never forget that day” moment—what was yours on Lost Horizon?
Every day on Lost Horizon felt like an adventure—from close encounters with snakes and spiders to executing complex action and travel sequences. The travelling shots involving the military vehicles, particularly the Unimog and Jeep convoy scenes, were among the most challenging to capture. The terrain was filmed entirely at night, with extremely limited visibility along the dirt roads, and coordinating the timing between the action vehicles and crew vehicles through dense red mist and pitch-black conditions was exceptionally demanding. The red sand was also incredibly harsh on our gear, working its way into every crevice and taking a noticeable toll on both the lenses and the camera equipment.
What was your approach to editing? Did you cut as you shot, or did the rhythm of the film only reveal itself in post?
Having spent more than 25 years shooting and editing productions, I’ve developed a process in which most of my films are effectively shot from memory after writing the script. I visualise and edit the film in my head long before I ever call ‘action’ on set, the rest of the process unfolds organically. With the shotlist committed to memory, I know exactly what coverage is required and where the camera should be placed to best convey the story. The timing and pacing are ultimately refined in the final edit, and as long as I have the necessary coverage, I know the scene is secure.
Did making Lost Horizon challenge or reshape your own views on the action genre in any surprising ways?
Having just completed three other action films at the time, I was well prepared for the challenges Lost Horizon presented—and, for the most part, I genuinely enjoyed the experience. Each action film I take on offers an opportunity to explore something new; in this case, it was about keeping the action grounded, real, and honest. While this approach can be less flashy than highly choreographed, exaggerated fight sequences, it was essential to maintaining the film’s authenticity and emotional truth.
Making films is both a responsibility and an absolute privilege—one I’m grateful to pursue every day of my life.
Sound design can make or break an action sequence. How involved were you in crafting the film’s sonic texture?
Africa has a uniquely rich sonic landscape—filled with ambient sounds found nowhere else in the world. From the distinct dialects spoken by the rebels to the textures of the foliage and the calls of the local birdlife, we wanted to bring those authentic, exotic elements to the big screen and let the environment itself become part of the storytelling.
The film balances spectacle with emotion. What strategies did you use to ensure the human stakes never got lost amid the chaos?
By keeping our focus on the key cast—and ensuring that their motivations remained clear, even as their objectives evolved throughout the story—we were able to anchor the narrative amid all the action and chaos. This approach kept us true to the main characters and allowed us to spotlight their personal journeys, even within a world much larger than themselves.
What do you hope cinephiles—particularly those who focus on film form and thematic analysis—take away from your approach to action cinema here?
I hope cinephiles who appreciate well-crafted action films can see that a small indie production like Lost Horizon can stand toe-to-toe with the bigger titles out there. Lost Horizon isn’t your typical action-war film; it’s not just about the chaos of a civil war, but about a man forced to make impossible decisions when the people he loves are in danger. It’s a story about confronting devastation, facing the enemy outside and the demons within, and choosing courage when fear would be easier.
Looking at your work as part of your broader creative evolution, where does Lost Horizon sit in your artistic trajectory?
Each film brings renewed energy and a broader perspective—both on life and on the art of filmmaking. The more films you make, the better you become and with every project introducing new challenges and problems to solve, you learn to sharpen your instincts as you elevate your craft.
Is there anything else you would like audiences to know about Lost Horizon?
Lost Horizon was made with blood, sweat, and tears. We poured everything into this film. I hope you’ll watch Lost Horizon and support the indie film industry, your viewership truly keeps independent cinema alive.
