“I’ve always been fascinated by unusual deaths,” says Adam Elliot, the talented Australian claymation filmmaker known for his Oscar-winning short films *Harvie Krumpet* and *Mary and Max*. In his latest project, *Memoir of a Snail*, Elliot continues to blend dark humor with poignant storytelling. The film features Sarah Snook as a woman with a peculiar obsession for ornamental snails, a passion that ties deeply into her family’s history of hoarding.

Elliot’s characters frequently find themselves in absurdly tragic scenarios, often succumbing to toxins or experiencing bizarre accidents. This exploration of human imperfection is both endearing and grim. “I’ve realized that my films often explore perceived flaws that actually aren’t flaws at all,” he reflects, showcasing the unique perspective through which he interprets the world.

His acclaimed debut feature, *Mary and Max*, highlighted the friendship between a young girl and a man with Asperger’s syndrome, portrayed by the late Philip Seymour Hoffman. Now, fifteen years later, *Memoir of a Snail* continues this exploration of life’s darker aspects, wrapped in whimsical storytelling, populated by characters who embody both tragedy and triumph.

In the film, Snook voices Grace Pudel, whose trauma from her mother’s death drives her to hoard her cherished snails. Visitors to Elliot’s studio in Melbourne can spot Grace’s clay figure among a myriad of other characters, each resting in their cardboard “coffins.” Located beneath the now-closed Melbourne Star, the studio resembles a scene straight out of one of his films.

Elliot’s intrigue with death originated early, highlighted in his first student film, *Uncle*, where an aunt accidentally consumes ant poison. This motif has persisted throughout his work, and he finds humor in the absurdity of life’s fragility. “When I created *Uncle*, people remarked on how dark my stories were, and I didn’t fully understand why. Why does everything need a fairy-tale ending?”

In *Memoir of a Snail*, Snook’s character is a stop-motion animator, adding a meta twist to the story. Alongside her gay twin brother, played by Kodi Smit-McPhee, and an eccentric alcoholic father voiced by Dominique Pinon, the film promises to weave together an intriguing array of quirky relationships. Jacki Weaver also shines as Grace’s best friend, Pinky, who has a colorful past that is sure to elicit laughter.

Elliot’s creative process is rigorous, particularly as he navigates his own health challenges, including a hereditary tremor affecting his hands. To realize his visions, he relies on a dedicated team of animators. He candidly discusses how his asthma and medication impact his creativity, yet these struggles also deepen his empathy for the characters he portrays.

The road to finishing *Memoir of a Snail* spanned nearly a decade and prompted significant personal reflection, especially following the death of his father. While exploring familial themes, Elliot recognized how hoarding behaviors often arise from trauma and loss, leading him to incorporate these aspects into Grace’s character.

Elliot isn’t one to shy away from challenging societal norms. His film includes provocative scenes that critique fundamentalist beliefs, including gay conversion therapy. He recognizes the potential backlash, stating, “If I don’t get a death threat, I’ll be surprised.”

Growing up in a religious environment, Elliot’s experiences fueled his journey from devout believer to outspoken atheist, humorously recounting his educational experiences that highlighted the contradictions in his upbringing. “One class we studied the Bible, the next class we delved into science. Those contradictions have always intrigued me,” he shares.

As he gears up for *Memoir of a Snail’s* release in Australian cinemas on October 17 and its screenings at the BFI London Film Festival, Elliot remains committed to pushing the boundaries of storytelling. “The role of a writer and director is to challenge the status quo. If we don’t push these limits, our art will become stale.”