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Ruben Russo, Lachlan Thompson, and Alexander McRae are quickly establishing themselves as standout voices in the coming-of-age genre, breathing new life into a timeless cinematic tradition that captures the complex and often turbulent journey to adulthood. In their latest project, All of Us at River’s End, they explore the depth and vulnerability of friendship, nostalgia, and loss in a way that resonates with universal truths. The film centers around a reunion between Lucas and his friends on the anniversary of their friend’s passing—a gathering that begins as a celebration of life but quickly descends into an emotional reckoning.

As tensions run high, fueled by the night’s drinks and unresolved guilt, the group confronts long-buried resentments, self-doubt, and their own evolving identities. Each character faces a different kind of inner struggle, making the film a raw portrayal of how relationships and individual lives fray at the seams during pivotal moments. All of Us at River’s End channels the spirit of classics like Stand By Me and The Breakfast Club, while presenting a fresh take on what it means to come into one’s own.

Pop Culturalist sat down for an in-depth discussion with Ruben, Lachlan, and Alexander about their film, All of Us at River’s End, examining how the project reimagines masculinity and more.

PC: Ruben, one of the most powerful aspects of filmmaking is its ability to make audiences feel less alone and help them understand emotions they may not otherwise be able to articulate. You turned to coming-of-age films during a pivotal time in your life. How did those influences inspire you to write All of Us at River’s End, and can you tell us a bit about the short?
Ruben: Stand By Me has been my favorite film since I was probably twelve. I was right in that age bracket where that film resonates the most. I wanted to tell a coming-of-age story because it’s a genre that’s died out over the last twenty years in the mainstream realm, so I wanted to write a story that goes back to that, like The Breakfast Club or Stand By Me—those iconic films that I feel people still watch all the time but that aren’t released in cinemas as much.

I had the idea of going back to Stand By Me, but what if I aged them up? What if I put them right at the cusp of adulthood? I feel like most people become adults when they experience some form of tragedy. That’s where the parallel between Stand By Me and River’s End can be drawn, even though they are two completely different films with distinct storylines.

The tagline of our film is: “Witness the fire of our youth.” It was important to show the hell that you can go through and how it shapes you as a person—for good or for bad. That was important so people can relate and feel less alone. If people aren’t necessarily proud of who they are or if things didn’t turn out the way they thought, this film is about being okay with that and moving on from the fire that happens right at the cusp of adulthood.

PC: These characters are so layered and multifaceted, and their journeys are about embracing their flaws and that loss. Lachlan, this is your debut role. Congratulations, by the way. There’s such an interesting parallel between your background studying psychology and what’s asked of you as an actor to get into the headspace of your character, especially with themes as heavy as this. How did those studies lend themselves to the work you did on this project?
Lachlan: It’s an interesting tie-in because, fortunately, this role was written for me. My understanding as a person and the personal values I carry, shaped by those studies, are intrinsic to the character of River, who I play. It’s in the little intricacies and the way the boys interact that were influenced by that upbringing.

PC: Alexander, you also mentioned a sense of ease during the audition process and in working with this team. How did that comfort and trust carry over to the set? How did that help you explore a character whose emotions are often more internal and conveyed more through what isn’t said?
Alexander: So beautifully. The reason I got the audition was through a mate of Ruben’s, Nick Elson, who directed and was our DoP (Director of Photography). From the moment I stepped in, it felt welcoming, and that feeling carried right through to the set when we were shooting.

A big part of that was the team being extremely open and kind with me. The environment was also a factor—being on a farm, having a campfire going. There were cameras rolling in and out, but it still felt very comforting.

The amount of things I learned about these boys over the time we were shooting felt significant. During the shoot, I got really close with them, and it turned out to be a really pleasant experience—probably one of the best.

PC: Speaking of that friendship, this film doesn’t work unless you believe the chemistry between all four of you. How were you able to build that in such a short timeframe?
Alexander: Truthfully, we just gelled. I know that sounds kind of cheesy, but it’s true. We got along really well. We understood each other and didn’t get on each other’s nerves too much. [laughs]

Ruben: Too much. [laughs] I initially wrote the script and handed it to our director in its very first form. It was a rough script back then. The first draft was not great. But he read it and said, “Look, if you’re going to go through with this, if you’re going to make this, you need the perfect cast because the film is either going to sink or swim.” Finding the right actors to play Ridley and Keenan was a very difficult task. Once we found them, we just knew—it clicked because we all got along so well, and they fit the characters perfectly.

Specifically for Alex’s character, Keenan, he actually inspired me to change the way the character was written. His energy and the way he presented himself became a version of Keenan that I hadn’t originally envisioned, and it branched out into something even cooler.

Alexander: I’m glad you thought it was more cool and not less.

Ruben: It was.

PC: As someone who’s seen the short, you can feel that sense of their shared past. Ruben, you’ve mentioned that each character requires a different approach. How does that change when the character you’re playing is one you also wrote?
Ruben: That’s a good question. When I wrote each of these characters, they each carried an aspect of my personality. They represent different types of masculinity. I wrote Ridley in a very specific way, then I created Keenan and River, and together they could almost make up one person, in a sense, because it is a short film and you only have so much time to tell their stories. When we started working on our characters, we spent hours delving into their history—from when they first met to when certain dynamics began to develop.

Acting in a role that I wrote for myself was probably one of the most challenging things I could do because you have the character in your head as you originally envisioned him, but then you have to bring him to life and figure out how to do that. In the creative process, you have many people reading the script and giving input, and their perspectives can differ from how you initially imagined the character. Then, on set, you have to bring that vision to life, which can be really tough. I found that I had to stick with how I originally wrote him because, at the end of the day, you know the character—you invented him, and he’s a part of your soul. It wasn’t easy, though. I’m not sure if I’d do it again. I would. [laughs]

PC: You should definitely do it again. Lachlan, going back to this being one of your biggest roles to date, what was the most surprising part of this experience for you? What did you learn about your craft from this project that you’ll carry into the next?
Lachlan: With this being my first major role, it felt like diving into the deep end and being exposed to everything all at once. But credit goes to the cast and crew—once I was on set, it felt like one big family, from the production assistants to the director to these guys. They made it super easy, and it was really cool being in that creative zone even before we started shooting. We got together on Zoom calls to analyze our characters and build their backstories, even the parts that wouldn’t be seen on screen. Because we did that, we were able to carry that depth into our interactions in the short. It was amazing to not just portray a character but also contribute to their development and watch them evolve.

Alexander: I remember those Zoom calls. [laughs]

Lachlan: They were amazing. [laughs]

Ruben: They went on for so long, but it was worth it.

PC: Alexander, music is such a through line for so many of these characters. Often, actors will create playlists to get into the mindset of the people they’re portraying. You have such a strong affinity for music. Was that something you did? If so, what was on your character’s playlist?
Alexander: Well, I sort of had that done for me. Ruben created a playlist and shared it with me, and it was a brilliant collection of songs. I can’t remember all of them exactly, but they really matched the vibe of the film. I remember Lachlan and I driving to set on the first shoot day with that playlist playing in the car. There were also times when I’d step away from set, sit by myself, and listen to it. I would play it whenever I had some downtime.

It was nice—not just being on set and in that environment, but also having that time to immerse myself in the music. I’d listen to it before shooting and throughout the upcoming week, which got me excited about what we were creating. I wouldn’t say it contributed massively to my performance per se, but it definitely made me happy.

PC: Ruben, you need to release that playlist as a teaser ahead of the short’s release. You touched on this already, but I imagine as a writer, you have such a strong sense of who these characters are. Once you cast your actors, though, you want to hand the reins over to them. How did you create that environment on set where your costars could do just that?
Ruben: When we got on set, we had already done all the character work beforehand. It really came down to getting the casting right. If you look at the script’s description of Ridley and then see René [Le Feuvre] in person, you can immediately see why he was cast—he was almost exactly who I envisioned from the start.

As for creating freedom on set, my rule was that the script was the Bible. Everything within it was set, but beyond that, the actors had free rein. They could contribute whatever they wanted 100%. I don’t know if these guys would agree, but during our acting sessions, it felt like we were just playing make-believe. We’d talk about things like, “This is how they met twenty years ago,” and so on.

When we got on set, it was about knowing what happens in the script and using that as the foundation. Then, they could go off and bring their own interpretations to life. I wouldn’t say anyone felt chained to a particular way of approaching their roles.

Alexander: No, not at all. I definitely agree. That’s exactly what we worked on during those Zoom calls leading up to shooting. We’d literally hop on the phone and ask, “What do you think about your character? What have they done in their past that’s going to influence their decisions now?” We went around and did that for each of our characters, mostly facilitated by Ruben. It really helped because while you have the character, script, and lines—which are great—that’s where you get that extra fourth dimension by doing this kind of work.

PC: Nick was also so intentional in the way he wanted to shoot this short film, using a lot of natural light and embracing focal imperfections, which ties back to some of the themes within this film. It has that classic coming-of-age feel that we so desperately need in this industry. How did the freedom of this shooting style allow you to take more risks?
Alexander: This is the first coming-of-age film I’ve ever been a part of, and it makes me want to write one myself—whether I do or not is another thing. My experience in writing is minimal in comparison, but this project inspired me to consider it. I want to see more coming-of-age stories in cinema because it’s such a beautiful genre with so much potential, and we facilitated that decently well here. It really makes me want to contribute more to it.

Ruben: Nick approached the film brilliantly. He meticulously broke down every single shot, from storyboards to script, ensuring that each was intentional. One of my big tasks while writing the script was to make sure the film had tender moments between all the male characters, which isn’t something you typically see in films. You don’t often get depictions of male kinship that aren’t just guys being “blokes.” This was more of a sensitive take.

Nick managed to capture that beautifully through a romanticized lens, while still staying true to the story’s core theme of friendship and its complexities. His camera work, with carefully chosen angles and movements, allowed the actors to almost dance with the camera. From an acting perspective, that’s crucial. Some actors might focus on the camera, trying to get the perfect shot and performance, but with our time constraints, we had to go in knowing the shot plan and give it everything we had. We also had to collaborate with the camera to help tell the story. To me, acting is dancing with the camera, and that’s the best way to put it. Without Nick’s shooting style, we wouldn’t have been able to achieve that.

Alexander: Shout out, Nick Elson.

Lachlan: The way he shot it was perfect for capturing that sense of kinship and familial love. When you juxtapose that love with moments of loss and use similar techniques side by side, it really drives the story. It was a cool and creative element for Nick to bring to the storytelling.

PC: Ruben, with this being such a deeply personal project, you also wore several different hats, including being an editor. As you were filming these scenes, were you thinking about how it would play out in the final edit, or do you have to keep those separate?
Ruben: My honest answer is that I wish I didn’t have to think about that. This has been the most demanding project I’ve ever worked on. With other projects, you turn up on set, say your lines, and then leave. You often forget about it after that. But with this one, from the moment I wrote it to the moment the final export was done, I was working on it with Nick.

It was a lot. Producing and acting is already a challenge on its own. Having written the film, produced, acted, and then gone into the editing suite was a huge commitment. It was challenging but rewarding. Would I do it differently? No, I’d do it exactly the same way.

When we were on set, I generally knew right away if a scene was going to work or not and whether it would fit the larger vision. There are exceptions, of course, but you can’t get bogged down by the nitty-gritty details like angles or lighting. You have to ask yourself, “Is this telling the story I want to tell?” If the answer is yes, then we’d tick it off and move on. It was very important to give Nick the space to shoot the film the way he envisioned while still staying true to what the script depicted.

Would I do it again? Yes, 100%. I’m very invested in post-production because you need to care for it and give it the respect it deserves to achieve the result you want. So, I’d definitely do it again, but probably not anytime soon—I need a break.

PC: That’s such an honest answer. You’ve all been able to screen this in a few different places in Australia. What is it like to see something you’ve created with a live audience? Is there a scene in particular that you’re excited for audiences to see once this comes out?
Ruben: We’ve done one private screening with a group of family and friends. We’re heading into the festival circuit in 2025. In terms of scenes…

Alexander: In terms of scenes, you can’t really take a particular scene out and have it stand alone. The whole film works as one cohesive piece. Watching just a part of it wouldn’t capture the full impact.

Ruben: My favorite scene is the song in the film. It’s personal for me. Lachlan’s my best mate, and we’ve been friends for years. We wrote the song on the farm where we shot the film. That’s why it was so important to me that we shot it in the same location—to recapture that original magic. There was one night where we had a bottle of red wine, a guitar, and we wrote the lyrics. We started at 6 p.m. and didn’t finish until 6 a.m. We performed it for the first time, and there’s still a Facebook video of it—just me, Lachlan, and a group of friends singing in an apartment. Capturing that feeling and putting it on film was really important to me. That’s probably my favorite scene, without giving away too much.

Alexander: That’s my favorite scene as well.

Lachlan: I hate to repeat, but as Ruben said, that moment was a special experience for us. It was that chair, in that spot, on that farm, about two months before we started filming, when Ruben and I were having a bottle of wine and creating this song. It’s an emotionally charged song, and seeing it on the big screen for the first time was my big “wow” moment. I teared up watching it. It felt incredible. That’s the scene I’m most excited to share with the world.

PC: You’re all tackling timely and sensitive subject matter. For each of you, was there a theme in particular that resonated with you? What did you do to decompress after a day of shooting?
Alexander: We were all staying on set, in the middle of this farm where we were shooting. We’d sit by the fire, talk, and get to know each other better. That’s what helped us bond so well in such a short time. We just enjoyed each other’s company. Other film sets can be very different—you go home, check your call sheet for the next day, and repeat. But for this film, we were all together the whole time.

Ruben: We’d go out for dinner, have drinks, and keep talking. I loved it. It’s the most amazing chemistry I’ve ever experienced on a film set. To answer your question, the most impactful theme for me was the film’s exploration of substance-related issues and addiction. It’s a significant topic that isn’t talked about enough, especially as teenagers face the risk of developing these habits. It’s especially relevant in Australia, where the drug culture is very prominent. I wanted to include that theme and show the consequences of those actions, illustrating how one toxic person can disrupt an entire group.

Masculinity was another major theme—it’s more relevant than ever because there are so many different perspectives on what it means. It’s not black and white. Being a decent, chivalrous guy means embodying various traits, regardless of how you present yourself. That was important for me to portray amid all the negative discourse surrounding masculinity today.

Lachlan: Another cool aspect was focusing on the perfect imperfections of the characters. There isn’t really a clear villain or hero in this story. Everyone has good and bad traits, and when grief and loss come into play, it turns into an internal battle of good versus bad. It’s all about how someone deals with that—whether through substance abuse, isolating themselves, or distancing from others. It was really interesting to explore.

As for unwinding after filming, we were fortunate. The farm we shot on is owned by my parents, so we got permission from them to stay there. About a week and a half before filming, Ruben and I pitched the idea to my parents, and they were on board. That really helped build our chemistry. After every day of filming, when the crew packed down, it would just be us and Nick sitting around, talking about the day, debriefing, and having a laugh about what went wrong and reminiscing on what went right.

Make sure to follow Ruben (Instagram), Lachlan (Instagram), and Alexander (Instagram). Keep up with the film on Instagram.

Photo Credit: Bonnie Lanham