OUT HERE, YOU’RE ON YOUR OWN.
A young Black woman goes to a remote cabin with her friends and new white boyfriend for a ski weekend. A chance encounter with violent locals follows them back to the cabin and turns into a deadly home invasion. Except the encounter may not have been chance at all.
OUT HERE is an 88-page contained thriller/horror feature screenplay.
Set over one winter night at a remote mountain cabin, the story follows a young Black woman, her friends, and her new white boyfriend whose menacing encounter with armed locals on the way to a ski weekend follows them back to the cabin and erupts into a deadly home invasion.
Blending slasher horror, dark comedy, and biting social commentary, OUT HERE is a story about fear, betrayal, and the danger of sacrificing your instincts for the need to belong. And as the night unfolds, it becomes increasingly clear that the encounter that started it all may not have been chance at all.
OUT HERE is about a young woman learning to trust herself.
Ashley ignores red flags, suppresses her instincts, and makes herself smaller to avoid conflict. As people reveal who they really are, she’s forced to stop seeking approval and trust her own judgment.
At its heart, the film is about learning that belonging isn’t worth sacrificing your sense of self.
THEMES & SOCIAL COMMENTARY
OUT HERE explores the different forms toxic masculinity can take, from performative strength and concealed resentment to sexual entitlement and ideological hostility, all through the perspective of a young woman forced to navigate them.
Each man in Ashley's orbit represents a different expression of entitlement. Some disguise it as protection or friendship. Others express it through intimidation, objectification, or violence. What connects them is the expectation that women should accommodate their needs, validate their identities, or submit to their authority.
Against this backdrop, Ashley's desire for acceptance becomes increasingly dangerous. Her instinct to avoid conflict and give others the benefit of the doubt leaves her vulnerable to people who mistake her accommodation for permission.
OUT HERE asks what happens when a woman stops prioritizing everyone else's comfort over her own survival.
TONE & STYLE
Contrast drives the story and visual language of OUT HERE. Winter nights in the mountains are uniquely cinematic: endless darkness broken by snow that reflects light in every direction. The landscape feels beautiful and ominous at the same time. That balance informs the entire film. Friendship and suspicion. Warmth and isolation. Open spaces that somehow feel claustrophobic.
As Ashley’s trust in the people around her erodes, the visuals become increasingly stylized, reflecting her growing uncertainty. While the film embraces suspense and dread, moments of humor emerge naturally from the friendships, banter, and social dynamics of the group, making the eventual violence feel more personal and unsettling.
OUT HERE pushes toward something visually expressive, highly stylized, and rhythmically driving.
WHY ME?
I grew up adopted in a rural community, spent my youth on mountains like the one in OUT HERE, and much of my adult life in New York and Los Angeles. Moving between those worlds taught me how easily unfamiliarity can become fear. A city can feel as intimidating to someone from a small town as the wilderness can to someone from a city.
While OUT HERE is fictional, Ashley is drawn from people I’ve known throughout my life. Her desire to belong, search for acceptance, and struggle to trust herself come from real experiences and observations.
Ultimately, OUT HERE is a story about feeling out of place, a theme that has shaped both my life and my work.
Jeremy traded late nights, concerts and NYC for coaching soccer, collecting records and telling everyone in LA how cool he used to be.
He started directing music videos in 2002 and has since made 33 for artists including The New York Dolls, Jack White and Ice Cube. He later moved into advertising, serving as Creative Director at agencies including 72andSunny and Doubleday & Cartwright. His work across directing, creative direction and animation has earned four Emmy nominations.
Along the way, Jeremy has worked with filmmakers including Allen Coulter, the Safdie brothers and Mike Judge. Now focused on making his own films, he writes and directs dark, offbeat genre stories with a warped sense of humor.
GET IN TOUCH.
I’d love to send you the script and talk further about the project.
Hit me up: jeremy@hshg.studio or 646-596-3452