In the heart of Mparntwe (Alice Springs), a fresh voice in Indigenous storytelling is making waves. Dylan River, the creator of the new Stan series Thou Shalt Not Steal, isn’t just following in his family’s footsteps, he’s forging his own unique path in the world of filmmaking.
Dylan comes from a lineage of trailblazing filmmakers. His dad, Warwick Thornton, is a celebrated director and cinematographer, known for the powerful 2009 film Samson and Delilah. Dylan’s grandmother Freda Glynn co-founded the Central Australian Aboriginal Media Association (CAAMA), Australia’s largest Indigenous broadcaster.
With such a rich family history in the industry, it’s no surprise that Dylan has found his calling behind the camera. But for him, filmmaking isn’t just about legacy. It’s about telling stories that resonate with him and his community.
Thou Shalt Not Steal is a prime example of this philosophy in action.
What is Thou Shalt Not Steal about?
Set in the 1980s, the series follows Robyn (Sherry-Lee Watson), a young Indigenous girl on a journey from Alice Springs to Adelaide who has some wild experiences along the way (seriously the gasps I let out during the screening were embarrassingly loud).
Robyn navigates the complexities of faith, culture, and identity in the outback, throughout the eight episodes.
The series sees Heartbreak High stars Sherry-Lee and Will McDonald reunite, as well as screen legends Miranda Otto and Noah Taylor come together for some even more impactful Australian storytelling.
It’s a narrative that draws heavily from Dylan’s own observations growing up in Alice Springs.
“I think definitely my experiences growing up here being a fly on the wall,” he told PEDESTRIAN.TV.
“I’m not necessarily those characters, but it’s watching people like that or knowing people like that or hearing stories about things that have happened that I’ve culminated into this story.”
One of the most intriguing aspects of Thou Shalt Not Steal is its exploration of the intersection between Christianity and Indigenous culture. The title itself carries an ironic weight given the historical context of colonisation and appropriation.
Dylan dives into this complex relationship with both nuance and humour. “A lot of people around here have extremely strong Christian views as well as their own cultural views and how they both live together, I find very interesting,” he explained.
“The church has been very beneficial and productive as well as destructive to our people.”
After a successful screening at the Toronto International Film Festival, Dylan found himself feeling more anxious about how his hometown would receive the show. “Look, I was born here, I grew up here, but I’ve never been so nervous to live a day in this town,” he admitted.
“Everything I make, I make for Alice Springs. It’s the stories that are around me. It’s the stories that inspire me. And to play those stories back to the town is something that I just really hope for acceptance.”
After watching the show in Alice Springs, I got to speak to some elders in the audience who were filled with nostalgia seeing their home be transported back to the 80s. However, it was clear that the show was a coming of age story, leading me to wonder who the show was actually for. Dylan’s take on this is refreshingly candid.
“When we applied for funding, we got asked, ‘Who’s it for?’ and we made some bullshit up, to be honest,” he laughed.
“I made it for me. Really, anything I do, I make it for me. Fundamentally, if I like it, I hope that someone else will like it.”
This commitment to authenticity is at the core of Dylan’s philosophy as a filmmaker. He believes strongly in telling stories that are uniquely yours to tell.
“Storytelling definitely should be about looking at something that you have a perspective on that no one else does,” he said.
“I have no desire to go to France and make a film there because there are people there who can do that. I don’t want to go to LA; I just want to make stuff here or wherever I am.”
Should anyone be allowed to tell stories that they haven’t experienced?
Dylan’s perspective on storytelling extends beyond personal experience; he feels strongly about respecting who gets to tell which stories. “I have a problem with people seeking out stories where I feel like they’re not [qualified]. Like, why are you telling that story? You’ve got nothing to do with that story,” he explained.
“It’s almost like stealing stories.”
This might sound limiting to some, but for Dylan, it’s about honouring authenticity and ownership. “I think telling stories that are unique to you — everyone’s got something unique to them,” he emphasised.
As Thou Shalt Not Steal promises a fresh perspective on Indigenous experiences told by someone who truly understands his community. Dylan River isn’t just continuing his family legacy. He’s paving the way for new generations of Indigenous storytellers who aren’t afraid to keep their narratives close to home.
And as he put it best: “If we make it for me and make it for Alice Springs, hopefully it’s authentic enough that someone else somewhere will find it interesting.”
Lead image: Supplied
