Gus Birney Finds the Grey Between the Two
Gus Birney has spent the spring being hated by strangers, and she couldn’t be happier about it. As Portia Cunningham in Netflix’s…
Author: Belal Abd Elaziz
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Noomi Rapace Is Closer to the Soil Than to the Machine
The star of Agnieszka Smoczyńska’s “Hot Spot” on playing a survivor who barely speaks, why the film got more relevant with time, and the one frame she’d want to be.
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Mikaela Hoover’s Endless Summer
Eighteen years after James Gunn first put her on camera, Mikaela Hoover is having the year her intuition always promised her, trading scenes with Carey Mulligan in BEEF, giving a talking reindeer a soul in One Piece, and stealing pages of the Daily Planet as Cat Grant. She talks to A Shot about sixth senses, working with OCD, and why she’d give anything for a great horror script.
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Juliette Gariépy Doesn’t Flinch
The star of Red Rooms on silence, screens, the horror of the feed, and the strange business of being watched back.
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There Is No Time in Eternity: A Conversation with Romy Nassar
A Shot meets the woman strangers keep mistaking for a goddess.
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Lindsey Normington on Why Sex Work Is Art — And Hollywood Still Doesn’t Get It
She just finished an acting class, a run, and yoga, all before noon. Next month, she shoots her first self-written, self-directed short film. But that’s not what we’re here to talk about.
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Why Horror Is the Most Interesting Art Form Right Now
For much of its commercial history, horror was treated as the lowest rung of culture: disposable, juvenile, pandering to our worst impulses. Today, that picture has been almost entirely reversed.
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Greig Fraser on Project Hail Mary, Making Space Feel Human and More
There’s a quiet precision to the way Greig Fraser talks about images, as if every frame already exists somewhere, waiting to be…
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Inside The Boys: Eric Kripke on Violence, Satire, and a World Gone Too Far
Eric Kripke has never chased shock for shock’s sake. With The Boys, he has built a ruthless reflection of power, celebrity, politics, and human insecurity.
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