The Personal Edit of Henry Ashton: Between Westeros and London

#ThePersonalEdit

Henry Ashton Opens His Camera Roll From A Knight of the Seven Kingdoms

written LE MILE

For this edition of The Personal Edit, Henry Ashton opens his personal camera roll during the release of A Knight of the Seven Kingdoms. Stepping into the role of Daeron Targaryen, a greenseer navigating visions of past and future, Ashton enters the expanding world of Game of Thrones at a decisive narrative moment.

Between filming days, costume fittings, late-night script sessions and the anticipation surrounding the weekly episodes, his images document the atmosphere from within. Shortly after, he returns to screens in A Good Girl's Guide to Murder, marking another key chapter in his trajectory.

Built from spontaneous snapshots on his phone and paired with his own captions, The Personal Edit offers an intimate, behind-the-scenes glimpse into a rising actor’s world at the height of release momentum.

photo: Henry Ashton

Unfortunately I never got to do any sword training on the project, due to Daeron being a pretty ineffectual knight. But, during a horse ridding lesson, I got to see Pete and C.C do their thing.

photo: Henry Ashton

This is me getting a mould of one side of my face. Turns out getting your ear chopped off is quite an involved process.

photo: Henry Ashton

We went through quite a few different looks for Daeron, mostly with shorter hair. But eventually Pippa Woods decided on this one. I thought the greasy, long, Kurt Cobain-esque hair was perfect for him.

photo: Henry Ashton

Ser Steffon Fossoway, played by the incredible Edward Ashely, getting up close and personal with the dragon puppet.

photo: Henry Ashton

Pete and his weights.

photo: Henry Ashton

This photo of the amazing Finn Bennett makes me laugh. From the waist down he’s ready to ride into battle. But up top, he’s ready for party party in Berlin.

photo: Henry Ashton

Shaun and Pete practising lines. I love this photo as it sums up their relationship on and off camera. Just two friends helping each other out.

photo: Henry Ashton

Quite simply, the best wrap gift I have ever been given.

photo: Henry Ashton

Ed and Finn deep in a very tense game of chess. I forget who won. Probably Ed. The man’s a menace.

The Personal Edit of Justus Riesner: Berlinale 2026

#ThePersonalEdit

Justus Riesner Opens His Camera Roll From Berlinale 2026

written + styled KLAAS HAMMER

For this edition of The Personal Edit, Justus Riesner shares a glimpse into his personal camera roll from the Berlinale 2026. In Germany’s capital, he moved between film premieres, Prime Video’s “A Night to Remember” event, agency meetings, and an afterparty with Charli XCX, collecting impressions along the way and crossing paths with colleagues as well as international stars.

Having trained at the USC School of Dramatic Arts in Los Angeles, he first gained wide recognition through the hit series Maxton Hall – The World Between Us. A devoted film lover, he enjoys not only watching movies but also debating them and he clearly thrives in his profession. Maxton Hall was just the beginning for Justus - let’s see what this year will bring for him.  Built from spontaneous snapshots on his phone and combined with his reflections, The Personal Edit becomes an intimate chronicle of the Berlinale — capturing fleeting encounters, quiet in-between moments, and the unmistakable atmosphere of the festival through his own lens.

photo: Justus Riesner

photo: Justus Riesner

fitted in mm6 margiela for my first event with prime video

photo: Justus Riesner

posed on red carpets and flirted with the press

everything is accompanied by my talented friends

photo: Justus Riesner

and lots of bling bling
/@benfelipe

photo: Justus Riesner

klaas got me margielaaaasssss

photo: Justus Riesner

bad for the body, good for the soul. berlin in february demands controversial ways to remain sane

photo: Justus Riesner

cos meets jimmy choo

photo: Justus Riesner

this week’s form of transport consists of uber XLs and mini vans
/@benfelipe + @runa_goes_luna

photo: Justus Riesner

where arthouse auteurs meet haute couture

photo: Justus Riesner

attended „the moment“ after party with charli xcx and a special appearance by the one and only gaspar noé omggg

header image
seen by @hustlebush

The Personal Edit of Ewens Abid: Paris Fashion Week FW26

#ThePersonalEdit

Ewens Abid Opens His Camera Roll From Paris Fashion Week FW26

written LE MILE

For this edition of The Personal Edit, Ewens Abid opens his personal camera roll from Paris Fashion Week FW26. Moving between fashion shows, late-night gatherings and long walks through the city, Abid documents Paris as he experiences it: attentive, curious and instinctive.

Known for his roles in Andor and as Jonathan Harker in Dracula directed by Luc Besson, he shifts seamlessly between cinema and fashion culture, carrying the same sensitivity into both worlds.
Presented through images taken directly from his phone and paired with his own captions, The Personal Edit becomes a visual diary of fleeting moments, encounters and atmospheres that define Paris during Fashion Week — intimate, unfiltered and entirely his own.

photo: Ewens Abid

When wandering through the streets of Paris and getting lost, the walk unexpectedly led to art and a small coincidence: Rue Léon. Léon: The Professional, starring one of my favourite actors, Jean Reno, directed by Luc Besson, whom I happened to work with not long ago on Dracula.

photo: Ewens Abid

First event done, it was time to relax and enjoy a good old catch-up with friends, while admiring passers-by in their Paris Fashion Week best.

photo: Ewens Abid

Madly in love with Paris’ café culture. Just know that when you order a coffee here, a single espresso lands on your table. Espresso. What else?

photo: Ewens Abid

Let’s just say that one hit the spot just right.

photo: Ewens Abid

The red carpet at a fashion event, like the TATRAS AW26 Paris Fashion Week presentation, carries its own kind of charge. You simply step into it.

photo: Ewens Abid

I always like to go to the Basilique du Sacré-Cœur de Montmartre. The architecture, the view, the sense of calm — a perfect place after a busy day.

photo: Ewens Abid

It wouldn’t feel like Fashion Week without a party or two. Cutting shapes with friends, soaking up the vibrant atmosphere of Paris by night.

photo: Ewens Abid

The Magliano FW26 show was jaw-dropping. The excitement and suspense before it began gave way to a strong, elegant, dynamic performance — and within ten minutes, months of preparation, hard work, and chaotic commitment came to a close.

photo: Ewens Abid

Coming home to a Shiba Inu, one-on-one. First, the side-eye of “Where have you been?”, then an hour of attitude, and finally a little “I’ll cuddle, but I’m still mad at you.”

photo: Ewens Abid seen by Cedric Terrell

I had the chance to meet photographer Cedric Terrell for a street shoot, and we had a blast. For me, the best part of any shoot is the casual conversation along the way. I find meeting new people fascinating — everyone has a different story to tell.

INDIRA VARMA *on Characters, Control, and Creative Trust

That’s Where INDIRA VARMA Finds the Energy of a Character

interview + written ALBAN E. SMAJLI

Indira Varma has built a career defined by curiosity, risk, and an instinctive pull toward complexity. Across film, television, and theatre, her performances gravitate toward characters shaped by tension rather than certainty—figures who carry contradictions, secrets, and unresolved pressure. Whether navigating the quiet authority of a contemporary spy thriller or grounding emotion within worlds of heightened scale, Varma consistently seeks out work that resists ease and demands engagement.

That instinct is especially visible in her recent and forthcoming projects. In the return of The Night Manager, she steps into a new axis of power as Mayra Cavendish, a senior intelligence figure whose composure conceals shifting allegiances. Alongside this, Coldwater places her at the centre of a tightly wound domestic drama, where isolation and intimacy steadily collapse into something far more dangerous. Later this year, she enters the Austen universe in The Other Bennet Sister, before expanding into epic terrain as a major series lead in Dune: Prophecy.

Indira Varma wears a coat and dress by EDELINE LEE

In conversation, Varma speaks about process, collaboration, trust, and the pleasure of unpicking a character’s knots. Moving fluidly between genres and forms, she reflects on ambition, play, and an enduring attraction to roles shaped by complexity and open-ended tension.

Alban E. Smajli
When you think about the roles that have stayed with you longest, do they share anything in common?

Indira Varma
I think they’ve generally been the ones where I’ve had a knot to unpick. A struggle. Whether it’s with the writing, a challenging character that holds conflicting experiences, or whether there’s been something like prosthetics or weather to contend with.
The knottier the better of course. But I do prefer the knots to be character related. Challenging work is exciting.

You’ve so many exciting projects releasing and on the horizon, from spy thrillers like The Night Manager to sci-fi dramas like Dune: Prophecy. Do you have any particular standout moments or favourite takeaways from each project?

With The Night Manager - I loved working with Georgie, the director, who found ways to make even what seemed like a couple of lines of exposition into a rooted game. Hayley Squires and I had a great spar together where we got to improv around our scene to keep each other on our toes. But everyone is so brilliant and brings a unique flavour to the project.

It was also such a treat to work with Olivia Coleman. It was a night shoot in Tenerife and we spent the night playing heads up, dancing and ended with our producer bringing us a cocktail at about three in the morning on wrap.
Dune has been full of sets you walk into for the first time and your jaw just drops, and then you have to find a way to make your story feel real and grounded in these vast spaces. I get to work with the amazing Emily Watson - so that’s been pretty damn good!

And then with The Other Bennet Sister, while it’s smaller in scale of production but has the most gorgeous, talented cast. Ella Bucc

In The Night Manager, you play 'Mayra Cavendish’ who is shown to hold an almost quiet authority. How did you find stepping into this role in such a beloved genre of spy thriller, particularly given it's in such a huge project of an immensely beloved series?

It’s always a bit intimidating joining an established show as popular as The Night Manager. I sort of just watch how the regulars play and then slip in under the radar and see what happens. Georgie made sure no matter how big or small your role within the story, your character had to be deeply and personally invested in what was going on. The higher the stakes, the more there is to lose. Mayra is also layered with lies. Who is she? Who does she really work for? It’s fun to have to hide things.

The Other Bennet Sister sees you immersed in British society of the 1800s. What is it about this kind of setting that fascinates you most? Have you always wanted to tackle a project within the wider universe of Jane Austen, and what other British classic novels would you love to be a part of, if you could pick?

Growing up in Bath, I’ve been surrounded by the obsession with Austen. For the first 15-20 years of my early career, all the young actors had their big breaks in some sort of period adaptation and casting was very conventional back then so there was zero diversity. Now things have changed and at last I get to be in an Austen spin off!

I always wanted to be Tess of the Durbevilles. And I’d love to be in some Dickens. Don’t care which one. Actually… maybe the Russian novels appeal even more.

Indira Varma wears a dress by PALMER HARDING

Indira Varma wears the Winchester coat dress by SUZANNAH LONDON

In Coldwater, you star opposite Andrew Lincoln, having known each other since you were teenagers while individually carving out your own careers. What was it like suddenly playing husband and wife in a remote part of the Scottish countryside? How did you develop that particular on-screen relationship given that you know each other so well?

Having history and a friendship with another actor is so useful. The trust and communication is already there and so you can try things more boldly. It’s a total joy, and an advantage of having been in the industry a while now. Richard Coyle and I played characters about to have a baby almost 20 years ago, and now we’re married with 3 kids in The Other Bennet Sister!

Can we expect a return to the stage for you soon, or what kind of play or role would instantly draw you back to the theatre?

I hope so. I miss it so much. I’d love to do some new writing - something challenging, not conventional. There are loads of great new writers and directors I’d love to work with.

I’d also love to do more physical work. Having worked with Hofesh Schechter for Oedipus and done some voice work for Simon MacBurney and seeing Crystal Pite’s amazing new work, I’d love to do more of that kind of experimental stuff.
But there are still tons of classics I’d love to tackle. Including Chekhov and Shakespeare and the great American writers. And Pinter. I want to revisit Pinter.

Is there anything you’re actively searching for in your next roles? What would your next dream role or project look like for you?

I’d like to do some more independent film work. Something experimental. Small and heartfelt. I want to be outside my comfort zone.

Out of all the roles that you’ve played in your career, both on screen and stage, which four would you invite to a dinner party together and why?

I think Lady Macbeth could do with getting out of that castle and meeting a few women. They might persuade her to get a grip about this whole ´I want to be king’ thing. Just to complicate things, I’d invite the alien from Dr Who, Lady Pemberton, I think she’d have fun shape shifting into each of the characters.

Why not Ellaria Sands too? I’m seeing a pattern of slightly obsessed, mad women willing to kill. Maybe they just need to have a few drinks and a laugh. I think the woman I played in Present Laughter is so down to earth and used to massive egos that she’d be a great host.

Indira Varma wears a coat, rollneck, and trousers by JOSEPH, and shoes by JIMMY CHOO

Indira Varma wears a brown trenchcoat by LURLINE, a top and skirt by EDELINE LEE, and brown suede boots by KALDA

talent   INDIRA VARMA
photography   WILL ALDERSLEY via EIGHTEEN MANAGEMENT
styling   NATALIE BREWSTER
make up   NOHELIA REYES using LISA ELDRIDGE
hair   PAUL DONOVAN
jewellery   TILLY SVEAS
special thanks to location   THE PRINCE ARTHUR BELGRAVIA

copyright LE MILE Magazine / Will Aldersley

CHRISTINE ADAMS *Talks Restraint, Exposure, and Endurance in Hijack 2

CHRISTINE ADAMS

—Talks Restraint, Exposure, and Endurance in Hijack Season 2

interview + written ALBAN E. SMAJLI

Christine Adams appears in the second season of Hijack in a storyline shaped by isolation, memory, and the lasting pressure of consequence. Her character Marsha occupies a space removed from the immediate emergency, allowing the series to linger on psychological endurance and emotional exposure.

Christine Adams wears a coat by PAUL COSTELLOE, a top by WOOL PROJECT, pants by THEO, shoes by TABITHA RINGWOOD, and bags by ROGER VIVIER and PAUL COSTELLOE

Season 2 premieres on January 14, 2026, on Apple TV+. Created by George Kay and Jim Field Smith, the new chapter situates its central crisis on a hijacked train in Berlin, with Idris Elba returning as Sam Nelson. Alongside this high-pressure arc, Marsha’s journey unfolds through distance and interior tension, offering a parallel line shaped by aftermath.
Set one year after the first season, Marsha appears in a different phase of her life, marked by vulnerability and raw exposure. Adams works with restraint and precision, carrying extended passages alone and allowing stillness to hold narrative force. The performance depends on focus, emotional discipline, and sustained attention over time.

Christine Adams wears earrings by MAISON LUMIERE, a jacket and skirt by AHLUWALIA, and shoes by PLEIADES

Christine Adams wears earrings by ARTE NOVA JEWELLERY and a full look by GIORGIO ARMANI

Alban E. Smajli
In Hijack season 1, the tension lived at 30,000 feet. In season 2, where does that tension live for you as an actress?

Christine Adams
Most of the action this season unfolds on a train in Berlin, creating a very specific sense of momentum and claustrophobia. My character’s storyline, however, exists almost entirely outside of that world and stands alone in a place that is very remote. There’s a deliberate contrast between these two environments. What was set in motion in season reverberates into season two in a form the audience won’t be expecting, shifting both the emotional weight and the perspective of the story in surprising ways.

What part of your character’s journey in Hijack did you want to push further this time?

We meet Marsha at a very different place and time in her life, one year on. The strength and composure that defined her in season one have fallen away, leaving her far more vulnerable and exposed. There’s a rawness to her now - emotionally, psychologically, and at times quite literally, which allows the audience to see parts of her that were previously hidden. It’s a stark contrast to who she was before, and it opens up a much more fragile, intimate portrait of the character.

When you play someone who is constantly navigating pressure, how do you protect your own emotional space off set?

It’s a tricky one. I’m not a method actor but on days when you’re playing material with really high stakes it can be extremely challenging, particularly on a show like ours where the tension is constant and unrelenting. On those days, I tend to retreat a bit and stay quiet - it’s a form of self-preservation. I’m not very good at socializing when I’m carrying that kind of emotional weight, and I need at least an hour after wrap to properly switch off. When you have to access darker places in your mind and body, the line between imagination and reality can start to blur; your nervous system believes it’s real. Shaking that off isn’t always easy, and giving myself space is the healthiest way I’ve found to do it.

Working on a series built so tightly around suspense, what has it taught you about restraint and about stillness?

So much of acting is about what isn’t said, and on Hijack in particular that’s how we build tension. The silences, the stillness, the things the audience senses rather than hears are often doing the heaviest lifting. A large part of my storyline takes place with me completely alone, which has been a fascinating challenge - exploring how to tell a story with little to no dialogue. Everything hinges on Marsha’s internal monologue: what she’s thinking, what she’s suppressing, what she’s fighting to hold together. It’s a very internal, psychological kind of storytelling, and that restraint is what makes it so powerful.

Christine Adams wears earrings by XHENXHEN JEWELLERY, a coat by JENNIFER MILLEDER, a blouse and skirt by FALVAON, and shoes by ROGER VIVIER

Christine Adams wears earrings by XHENXHENJEWELLERY, a necklace and bracelet by CAPSULE ELEVEN, fur by SANNA PATRICK, a coat by RAY CHU, a dress by THEO, and shoes by TABITHA RINGWOOD

When you first read the scripts for season 2, what was the moment or scene that made you feel, “I want to be inside this story again”?

I think where Marsha’s storyline goes will come as a big surprise to the audience. She’s transformed significantly from who we saw in season one, and stepping into this new dimension of her character was incredibly exciting. The writers were keen to continue exploring the emotional bond between Sam and Marsha, but this season they push that bond to its absolute limits, testing it in ways that are intense, unpredictable, and deeply human. It’s a rare opportunity to navigate a character who’s evolving under such pressure, and the journey has been as thrilling to play as it is to watch unfold.

Looking back across your career, which project quietly shifted the way you see yourself as an actress?

I’m not sure if it was quiet, but living and working in LA for 15 years taught me an enormous amount about being an actress. I had to walk into a lot of very intimidating rooms and prove myself again and again, which wasn’t always easy, but it forced me to really understand the kind of actress I am. It taught me that acting isn’t just about technique, it’s about drawing people in, connecting with them, and giving them a reason to root for your character. That insight has stayed with me and continues to shape the way I approach every role

The industry often tries to define identity for women on screen. How have you navigated your own path through those expectations?

When I started out, I always wanted to play lawyers and doctors - roles that simply weren’t available to actresses of colour in England at the time. Moving to America opened up opportunities to be cast in more aspirational, multidimensional roles, which was incredibly liberating. Early on, it was frustrating to read scripts where the female characters were one-dimensional or thankless; there was so little depth or agency. Now, as I’ve gotten older and moved into a different age bracket, I’m seeing material become far more interesting and layered, which is something I’m really happy about. It feels like there’s finally room to play women with real complexity, nuance, and power.

Quick fire no commas
a scene from Hijack that stays with you

In Season 2 there’s a sequence towards the very end of the series that was incredibly complicated to shoot. It demanded precise timing and coordination to make everything work perfectly which made those days simultaneously thrilling and terrifying. Those are the kinds of shoots that really test you as an actor and as a team. I can’t wait to see how it all comes together on screen.

a word that captures season 2

Nail-biting

a feeling you hope the audience carries away

The Human spirit can overcome anything.

If you could speak directly to viewers just before they press play on season 2, what would you want them to pay attention to?

Be prepared for twists and turns, nothing is ever quite as it first seems.

Christine Adams wears a dress by JENNIFER MILLEDER

photographer + creative direction   IAN KOBYLANSKI
styling   BORNA PRIKASKI
styling assistant   ANNIE GRACE
set design   LOUIS TOLEDO
make up   HOWARD K.C.X.
make up assistant   JADE MISTRY
hair   ABI IGZ
lighting assistants   NICOLA SCLANO & ADAM WEIR

copyright LE MILE Magazine / Ian Kobylanski

BEN RADCLIFFE *The Refusal to Stay in One Role

BEN RADCLIFFE

—Rebellion, Reflection, and the Roles in Between

interview + written ALBAN E. SMAJLI

Ben Radcliffe drifts through interviews with the ease of someone leafing through a second-hand bookstore, picking up fragments and letting them fall. He talks about coffee as a cosmic mistake, acting as weather gone wrong, rebellion as simply switching the screen off.

Ben Radcliffe wears VALENTINO

His filmography holds soldiers, pickpockets, scandal shadows, lovers of revolutions — a drawer of misplaced identities. He remembers costumes that ignored the climate, cooling vests that worked like secret armor, rehearsed lines stripped of theatrics. What follows is Ben in his own rhythm — fragments, reflections, and the kind of unfinished lines that linger.

Ben Radcliffe wears a shirt and coat by SANDRO, a suit by THE FRANKIE SHOP, and a ring by TOM WOOD

Ben Radcliffe wears a shirt and coat by SANDRO, a suit by THE FRANKIE SHOP, sunglasses by PALOCERAS, and a ring by TOM WOOD

Alban E. Smajli
When was the last time you went missing on purpose, switched everything off, and didn’t tell anyone where you were going? And what waited for you on the other side?

Ben Radcliffe
I do this a lot. I think sport and exercise are a great reason to switch off and escape.

There’s something almost illegal about being offline today, especially in your world. What’s your version of rebellion?

I don’t see it that way. I think it’s very easy to switch off, especially social media. If I catch myself in a long scroll session, I will usually make up for it by doing something productive.
And my favourite rebellion? Les Misérables. Or Hamilton. Big fan of revolutions you can sing along to. 

You’re sitting at a café and there´s no script, no screen, or role to play. Just you and a black coffee. Where does your mind wander?

Wondering, “Why did I order a black coffee?”


What part of fashion feels like acting and what part of acting feels like dressing up?

If I wear something a bit out there, then it feels a bit like acting. Which is good because it’s fun to try something new. But if you feel inauthentic, then it’s probably not the vibe.

Acting on set mostly means wearing clothes wildly inappropriate for the weather. Five layers of sheepskin in the middle of summer, or just a thin shirt and trousers when it’s -2°C and raining (like one particular scene in Fackham Hall). On Masters of the Air we actually wore cooling vests inside the planes. The costumes were very accurate, designed for -40°C at 30,000 feet, but of course we were inside a sound stage. Without the vest pumping cold water around your body, you’d basically cook. 

Ben Radcliffe wears a full look by TOD’S, shoes and a bag by TOD’S, and a ring by TOM WOOD

behind the scene

Ben wears a full look by TOD’S, and sunglasses by PALOCERAS

You’ve played a pickpocket, a soldier, a scandal shadow, who are you when the cameras stop rolling and there’s just your reflection in a train window?

All of the above.

You lead in Fackham Hall. Let’s say they also let you rewrite the ending, everyone waiting for you to decide what happens next. How does it all fall apart or come together?

It all comes together very nicely. I think you should watch and find out. If I was in the writers’ room, I would sit in the corner and let the geniuses continue their good work. 

 Which three films do you always come back to, without knowing exactly why?

I’m really drawn to coming-of-age movies. Billy Elliot and The Way Way Back are some favourites that I can watch over and over.

When social media gets overwhelming and the silence starts to feel sharp, do you ever retreat into something paper — a book, a magazine, anything that just lets you disappear for a while?

I’ve always been a very outdoorsy type, so I never used to be a big reader. Although I’ve definitely been getting into it more in my 20s. I listen to a lot of audiobooks and podcasts, that way I can enjoy them on the move.

What’s your weirdest ritual on set?

I don’t really have any strange rituals, but I’ve witnessed many. I’ve listened to some outrageous warm-ups from nearby trailers and many actors doing interesting things to get into character. I’m pretty basic. I make sure I know all my lines and then I say them.

Are there parts of your career so far that feel like dreams you haven’t quite woken up from?

Working alongside John Travolta. He is a personal hero of mine and someone I grew up admiring. Performing alongside him felt very surreal.

 What’s something you’ve never said in an interview but kind of hope someone would ask you one day?

“Ben, would you like me to introduce you to Sabrina Carpenter?” Here is her number…

Ben wears a vest by GEORDIE CAMPBELL, trousers by DANIEL W. FLETCHER, a jacket by DSQUARED2, and shoes by ADIDAS

Ben Radcliffe wears a full look by DOLCE & GABBANA and shoes by G.H. BASS

art direction + seen   ANTONIO EUGENIO
photo assistant   FENN REEVES
styled   KATIE DULIEU
assisted   MARTHA RALPH-HARDING & CECILIA COLLINS
grooming   CHARLIE CULLEN at Forward Artists using 111SKIN
film   SOFIA IVANOVA
talent   BEN RADCLIFFE
thanks   Caroline Fergusson and Grace Yeoman at Pinnacle PR

copyright LE MILE Magazine / Antonio Eugenio 2025

REDA ELAZOUAR *The Rhythm of The Family Plan 2

A New Pulse
Reda Elazouar on Omar, Prep and The Family Plan 2

interview + written ALBAN E. SMAJLI

Reda Elazouar speaks about The Family Plan 2 with the kind of clarity that comes from living deep inside a role. Omar began for him in a stretch of intense weeks marked by parkour sessions, stunt rehearsals, boxing drills and a steady routine that shaped his body and focus.

REDA ELAZOUAR wears full look AMIRI

The preparation built a discipline that stayed long after production wrapped; he still trains with the same consistency, still carries the structure that the job demanded. He joined a cast that already moved as a unit, and the film’s chronological shoot gave him a rare advantage, the story introduced Omar at the same pace Reda met his scene partners. The early days on set shaped the tone for everything that followed. Wahlberg’s guarded intensity, Monaghan’s warmth, the fast rhythm of the action scenes — all of it created a space where Omar’s openness grew naturally. He talks about those first scenes in London with a kind of ease, as if the city itself kept feeding the role through every corner they filmed in.

REDA ELAZOUAR wears full look by TODD SNYDER, belt by FRAME, boots by JIMMY CHOO, and a ring by MEJURI

Alban E. Smajli
When you think back to The Family Plan 2, what’s the scene that still lives in your body?

Reda Elazouar
I would have to say my introduction scene when I come out of the shower because the amount of discipline that it took to train literally changed the way I live my life to this day. In order to keep up with the amount of exercise that I was doing, after I wrapped I continued with the workouts and so I came away from the job a lot more disciplined than I was previously. The prep for that scene also involved eating much healthier than I was before so I stuck to that too, which definitely makes me live in my body differently.

How does it feel to step into a franchise where the chaos is already in full motion?

Amazing! I got to jump straight in the deep end and straight off some buildings. The first film did a great job at explaining who Dan was and the lie that his family had believed for so long but in this one, we get to the action pretty quick. Because of how familiar everyone was with each other already, it was super easy to slot in and be a part of that family dynamic. 

Working with Mark Wahlberg, Michelle Monaghan and Kit Harington — what dynamics emerged between the four of you that shaped your performance?

Since we filmed it pretty much chronologically, I didn’t know any of the cast well when I filmed my first few scenes. So our characters were getting to know each other at the same time that we were which was a welcome ‘art imitating life’ moment. That dynamic worked best with Mark as Dan had to be distrusting of Omar but as the film goes on they get closer. Michelle is so maternal as well in real life and in character so that helped make everything feel real. Unfortunately, the only scene I was in with Kit is when he’s chasing after the family so we didn't get to interact much which probably worked for the character dynamic that we had to have. Overall, though, the way all the cast were so welcoming helped me have a great time on this one.

What did this film demand from you that earlier roles didn’t touch?

A lot of physical prep in a short time. I’ve never had to physically prepare for a role before but the moment I got the call up I went straight into parkour, stunts and boxing training. I had amazing teachers in Tom Cotton and Kyle Freemantle who taught me everything I needed to know in order to look like I was a parkour professional. In the times I wasn’t training with the, I had gym sessions with Simon Waterson and Tim Blakeley to get me prepped for my first scene as Omar when he steps out of the shower. Since I had only 5 weeks to get in shape, all my time outside of these sessions were either spent walking to get my steps in or resting for the next workout. Even though it was a big task, I felt very privileged to work with amazing professionals who made the experience so smooth and enjoyable. 

After the production wrapped, what stayed with you the longest?

How thankful I was to be on a project of this size with actors that I had watched growing up. That feeling still hasn’t gone away and was there every day that I was filming. We filmed in such iconic locations around London and since I live here and walk around those locations often, I am constantly reminded of my experience.

Describe the moment you realized your character had a completely different rhythm from everyone else on screen.

It was actually in the first scene I shot which was in the Chinese restaurant. Omar first pumps the air and is happy when Dan says “you’re in” to which he replies “in what?”. That part made me realise how oblivious he was and how he doesn't really understand exactly what's going on. It’s one of my favourite moments in the film as the audience knows that type of craziness the Morgans get up to while Omar has no clue!

When you look at scripts now, what makes you pause — in a good way?

If I’m genuinely interested in the pathology of the character and start wondering why they’re doing what they’re doing then I know I’m reading a great script. Also, most of the time that I'm reading scripts is because I'm auditioning for the project and there's a certain feeling between nervousness and excitement that makes me feel like I'm reading a great script that I'd love to be unpack and work on.

Is there a role, a genre or a mood you’re currently orbiting that you haven’t played yet?

There's a few things that I can think of. I haven't yet had the opportunity of leading a film/show which I'd love to do whenever the time is right. I also would like to dive into theatre and back on the screen side, I would love to do a mockumentary. I've been writing one on-and-off for a while where I would play the three central characters and I think that could be a great challenge and also lots of fun.

What question do you ask yourself before stepping into a new character?

I’m always curious to find out what is intrinsically different about the character and I. At what point was there fork in the road where the character went one way and I went another. In that, I also learn the ways in which the character and I are similar and to what degree. So I guess to boil it down to a question it would be: “what would've had to happen in my life for me to become you?”.

Away from set life, what keeps your imagination awake?

I take acting classes in between working and mainly do improvisation with a company called Talking People. Every few months we do an improv show which helps keep me on my toes. It’s a place for me where I can flow and do some theatre in between screen roles. I also train in kickboxing which I’ve come to learn is a physical form of chess. It’s nice to be able to have a hobby in something that has completely different stakes from acting and keeps me fit and disciplined too. It also reminds me of a saying I heard once: “if you want to become a better actor, read a book on kayaking”. The things away from acting that keep my imagination alive will in turn help me become better at what I do.

Is there a piece of advice someone gave you that returns at unexpected moments?

‘Slow down’. When I first started training in theatre, I didn’t really pay attention to how fast I spoke and so when I’d rehearse I would just speed through the lines. That was most likely because I was so nervous that I wanted to finish as quick as possible but I remember my teacher Robbi telling me time and time again to slow down and make sure that I was heard. That was a tough task as when you have that adrenaline hit of being on stage, everything speeds by. But that piece of advice has helped me in all aspects of my life to just slow down and take the moment in.

If your younger self could watch you working today, what do you think he’d be most excited about?

I think the mere fact that I actually started working as an actor would be enough for my younger self to smile ear-to-ear. I was told from young how hard it was to get started in this industry, especially coming from a working-class background with no one around me that worked in the creative field. On top of that, being able to work with people in front and behind the camera that worked on projects that I grew up watching is something younger Reda would give me some cool points for.

credits
talent REDA ELAZOUAR
thanks to AMBER MOTTO / AMPR

seen DAVID REISS
styled HOLLY WHITE
grooming CHARLIE CULLEN

TOM CULLEN *Trespasses, Michael, and New Role Insights

TOM CULLEN Returns Home

—and Opens the Door to Something Wilder



interview + written ALBAN E. SMAJLI

Tom Cullen carries a certain voltage—quiet, direct, and sharper than he lets on.

In Trespasses, he steps into a story simmering with political heat and impossible desire, playing Michael, a Protestant barrister who keeps choosing love in a world that keeps telling him not to. Cullen treats the role less like a performance and more like a possession, letting the character seep in through dialect, costume, and the rugged Northern Irish landscape that became its own scene partner.

Off-screen, he’s in a different chapter: new fatherhood, a move back to Wales, a creative instinct shifting toward the messy, human corners of storytelling. He talks about vulnerability like it’s a craft, about giving editors “colors to paint with,” and about the artists who shaped his eye. We caught up with him to talk Trespasses, tenderness, and the strange freedom that arrives when life rearranges you.

Tom Cullen wears a total look by PAUL SMITH

Tom Cullen wears JOHNLAWRENCESULLIVAN

Tom Cullen wears a jumper by JOHNSTONS OF ELGIN, a coat by WAX LONDON, trousers by 8ON8, and shoes by G.H. BASS

Alban E. Smajli
Trespasses explores intimacy and fracture within political tension. What drew you most to this story, and how did it live inside you while filming?

Tom Cullen
I was drawn to the powerful messaging that I derived from it. My character Michael, a controversial Protestant barrister, who defends young catholic boys against police brutality, says “We must have the bravery to choose freedom over fear”. It’s a message that is so simple, but when you dig into it, it’s surprisingly profound. Cushla and Michael are two people that choose to not be swept up in the narratives that surround them and they choose love instead, even at the risk of their lives. It’s very easy to get lost in these narratives and so it’s so important for us to take stock and not allow hate to win. It sounds altruistic and pious, but it’s true. Just look at the narratives today that are being pushed down our throats by those in power just to divide us. And it’s working. But we must choose freedom over fear.

How did you approach creating space for tenderness within a narrative so marked by conflict?

My partner, Alison Sudol, reads everything I do. She is a wise sage. She read Trespasses and said that Michael and Cushla were like two dandelions growing out of the smallest crack in a slab of concrete. I really attached myself to that image.

There is a lot on the page working against Michael. He is the hardest part I’ve ever had to play for that reason. You have to love him but there is also something unreachable about him. So the love and tenderness between Michael and Cushla was integral for the show to work. I just tried to lean into Michael’s vulnerability as much as possible. But it is his passion for life is that really opened the door to Michael and Cushla’s relationship. They find in each other a passion for life and that chemistry was very much found in my working relationship with Lola. Lola is mesmeric. They are fiercely intelligent, talented and compassionate human being. I just loved working with Lola and all the things that Michael loved in Cushla are the same things I loved in Lola. Lola’s passion for life is thrilling to be around. 

When you play a character shaped by history and division, where do you begin—voice, silence, or memory?

Obviously it’s a historical context which these characters exist in but the story itself is fictional and the characters are too. So while rooted in a history that I have quite a good understanding of - the majority of my work was character work - and thankfully I had an amazing resource to pull from with Louise Kennedy’s novel. 

A big part of my process as an actor - and I’ve got to be careful not to sound too pretentious here - is to just let the character flow through me. I have to step out of the way and just let who it is flow through. This is a slow, gentle process that comes through prep. Starting with dialect, costume, makeup…all these things help build the character from the source material and I just have to get the hell out of the way.

I can’t watch any playback when I’m working because in my head, I look like a totally different person. But when if I watch playback, I just see myself in the shot, it’s so weird and it can shatter the illusion in my head. It’s like one big episode of quantum leap!

What did the landscape of Northern Ireland give you that the script couldn’t?

It’s beautiful. And so is Belfast. The landscape itself is a character in the show.
Reminds me a lot of where I grew up in Wales. Something so calming about the rugged permanence of that landscape. It’s humbling in the best way. A reminder of your insignificance. 

Tom Cullen wears cardigan by IODELE, ants and T-shirt by A DAYS MARCH

Tom Cullen wears jumpers by JOHNSTONS OF ELGIN and pants by UNIQLO

In Trespasses, love feels both sacred and dangerous. How did you hold that balance?

Isn’t all love sacred and dangerous? Love is inherently dangerous. To love someone is a choice, but it’s a choice of pain, because all love will end one way or another. That’s what makes it the most beautiful, intoxicating and human choice to make; to make oneself vulnerable, to give yourself to another, is the single most profoundly brave action a human can make. We choose to love despite the pain. We choose to love in the face of grief. To love, is to accept death, right?

As an actor who also directs, how does awareness of framing and rhythm shift your process in front of the camera?

Directing and editing specifically, was the single most liberating lesson I’ve had when it comes to acting. I was lucky enough to have two brilliant actors in my first feature, Tatiana Maslany and Jay Duplass. The spectrum of performance I had to play with in the edit made my job as a director so easy. Since then I’ve enjoyed the freedom of delivering colours for the editor to paint with. It’s freeing and allows the best, most exciting work to happen. Where you’re not quite sure what will happen next. My favourite artists all exist between the lines of brilliance and disaster. I’m trying to exist there as much as possible. Let go of the control and the ego. Let it flow! 

What does this period of your career feel like—what’s anchoring you creatively right now?

Becoming a father has shattered any semblance of who I thought I was and in the vacuum left behind by sleepless nights, worry, nappy changes and the most powerful love. I have begun to reform myself as someone I like a lot more. It’s liberating to not give a toss about anything other than the very singular purpose of being a parent. Being a Dad is something I have always wanted but it’s changed me in a way that I didn’t expect.

You recently moved back to Wales—how does it feel being back in the place where your artistic instincts begin?

What a lovely question. I’d never thought about it like that. I’m reframing my move back home through the prism of this question and it’s making me quite emotional. We’re all on a journey, aren’t we? I’m not someone who really makes any plans. I turned 40 this year and that is something I never imagined happening, but having turned 40, I’m reflecting a lot. Reflecting on the journey. 

If I’d have told that little boy who grew up in the middle of nowhere Wales, making little plays for his mates on my council estate, that I'd be working as an actor one day…wow. What an incredible thing. 
And to move back to the place I had to leave to chase that dream? It’s immensely moving.

What do you find yourself searching for in the stories you choose now?

I’m interested in complexity. I want human stories, warts and all. Art should be an interrogation of the human experience. I’m inspired by filmmakers who capture the extraordinary in the quietest corners of life; Cassavetes, Joachim Trier, Chloe Zhao, Celine Sciamma, the Dardenne brothers. These are the filmmakers and the work I aspire to be a part of.

Quick fire, no commas:

A book that steadies you _____

Tom Cullen: Great Expectations 

A scene that keeps echoing _____

Tom Cullen: The dinner scene in A Woman Under influence 

A word you’re holding onto _____

Tom Cullen: Hiraeth

Tom Cullen wears a suit by JOHN LAWRENCE SULLIVAN, a T-shirt by A DAYS MARCH, and shoes by G.H. BASS

seen   WILL ALDERSLEY
styled   JACK MILLS via WERTHERS REPRESENTS
grooming   TRAVIS NUNES
talent   TOM CULLEN via TELESCOPE AGENCY

copyright LE MILE Magazine / Will Aldersley 2025

PRISCILLA DELGADO *on Transformation and Life Beyond the Screen

PRISCILLA DELGADO
on What It Means to Vanish and Begin Again

interview MARK ASHKINS

At seven Priscilla Delgado was already reading minds on Spanish television, headlines still calling her the little girl as if time had frozen in reruns while she kept filming, kept slipping into roles that stick to the skin long after the lights go down.

The little girl is still there, shadowing the woman who walks through sets of Euphoria lit in electric haze, rewriting herself in ways impossible to chart, transformations that accumulate one frame after another. On another project the orange jumpsuit clicks into place and suddenly the story is alive, the uniform shaping the body, escape rehearsed on rooftops with helicopters hovering, details carried into sleep, details returning in dreams.

Priscilla Delgado wears VERSACE

“Life gave me the chance to start my career at a very early age, and I haven’t stopped working since the day it began.”

Priscilla Delgado speaks with Mark Ashkins
for LE MILE FW25 - OFFLINE Edition

watch film

She remembers the first time a stranger renamed her in an ice cream shop, the baptism of being addressed as someone else, the odd thrill of identity folded back into fiction.

Characters sometimes stay lodged inside her, sneaking into gestures, contaminating her nights, refusing to leave with the costumes, reminding her that the boundary between role and person is porous, flimsy, optional. Scripts without punctuation, directors with too-perfect smiles, flags she reads instantly, warnings disguised as opportunities.
Offline she disappears into neutrality, outdoors where signal fades and thoughts scatter, into tasks that narrow her focus until flight mode feels like another form of presence. When the circus of productions pauses, she reaches for films waiting in the Criterion Collection or in her father’s private archive, unwatched reels stacked like maps of worlds she hasn’t entered yet. And always, there are the dogs. Coqui was the last, scooped from a roadside chinchorro in Puerto Rico between alcapurrias and a piña colada, carried into a new life within a week, another role cast, another story closed.

Priscilla Delgado wears a coat by DOBLAS and shoes by CHRISTIAN LOUBOUTIN

Mark Ashkins
We googled you. Then we stopped. What’s one part of your life the internet keeps getting spectacularly wrong?

Priscilla Delgado
Life gave me the chance to start my career at a very early age, and I haven’t stopped working since the day it began. When I was just seven years old, I played a little girl with the superpower of reading people’s minds. That role became my first major appearance on Spanish television, and it’s one that people still remember to this day. There are still headlines that refer to me as “the little girl,” a reference I find both endearing and curious, especially considering I’ve grown into something much closer to a woman.

You just wrapped Euphoria. Were there tears? Blood? A new tattoo? What part of you got rewritten in all that neon fog?


Given the universe of Euphoria, all the possibilities mentioned are entirely plausible. It has definitely been a deeply transformative experience. I’m not sure which part of me may have been rewritten, but what I do know is that it has been fascinating to gain such a profound understanding of aspects previously unknown to me.

You’re in Virginia filming a Prison Break spin-off. Did you sneak out of set in an orange jumpsuit just to feel something? What’s your favourite kind of escape?

Everything finally came together the moment we were given the chance to try on our uniforms. After that, everything else began to take shape. My ideal escape would be running up to the rooftop and getting picked up by a helicopter.

What’s more terrifying: a script with no punctuation or a director with perfect teeth?


To me, they’re both clear red flags!

Priscilla Delgado wears a total look by ABRA

You’ve been acting since before the world fully digitised itself—do you remember the first time someone called you by a character’s name in public and you liked it?


Yes, I remember the first time it happened. It was in an ice cream shop. It felt like being baptized anew.

Is there a character you’ve played that still lingers in your laundry, in your soup, in the way you blink when no one’s watching?


I have to confess that this has happened to me. During an incredibly intense week of work, I woke up suddenly in the middle of the night and found myself slipping into some of the mannerisms of the character I was portraying at the time. It was a terrifying moment because I always try to leave the character on set. But I suppose, as in this case, sometimes it’s inevitable.

How do you stay Offline without becoming invisible? Or is being invisible the goal now?

I really enjoy being in a neutral space and allowing myself to relax. For me, this neutral space is usually being outdoors in nature.

What’s your personal version of flight mode? A lake? A locked bathroom? The inside of your own head?

Being deeply focused on a task and not allowing any distractions. For me, being on set can be synonymous with being in flight mode, although theoretically, it could also be the opposite.

You’re juggling productions like a circus performer on a caffeine drip—do you ever feel like not being good at things for a minute?

All the time, I find myself unraveling the mysteries of the world. Meanwhile, I navigate this journey with respect and an open heart, embracing every lesson, while gently reminding myself to be kind and patient along the way.

When everything wraps, what’s the first thing you really do, once the Wi-Fi dies and the makeup wipes win?

I’ll probably lose myself in watching a film, choosing from the countless gems left unwatched in the Criterion Collection and from my father’s personal archive, which may be even more vast and treasure-filled, haha.

Tell us something you’re working on that has absolutely nothing to do with the industry. 


I strive, in my own way, to be of service to society, whether by contributing to causes that need support at any given moment. One of the things I enjoy most is rescuing street dogs or fostering them, giving them love, food, and warmth, and preparing them for their new forever homes. The most recent was Coqui, a little dog I found at a “chinchorro” in Salinas, Puerto Rico, when I stopped to enjoy some alcapurrias and a piña colada. We managed to find her a home in just one week!

Priscilla Delgado wears a total look by JULIE KEGELS

“For me, being on set can be synonymous with being in flight mode, although theoretically, it could also be the opposite.”

Priscilla Delgado speaks with Mark Ashkins
for LE MILE FW25 - OFFLINE Edition

seen + direction   PABLO MAS
styled   GONZALO ORUTÑO
art direction   MARTA OCHOA and YOSI NEGRIN
movement direction   MURIEL SEIQUER
make up   LUCAS MARGARIT
hair   TRINI ASTEASUAIN
production   SOFIA FRAMES
light   CLAUDIO OCA, CRISTIAN FENOLL + XAVIER BOUZAS
digital retouch   PABLO RIVERA

talent PRISCILLA DELGADO

SANDRA YI SECINDIVER *Building Yutani and Trusting the Silence

SANDRA YI SECINDIVER
on Building Yutani and Trusting the Silence

interview SARAH ARENDTS

Sandra Yi Sencindiver enters each project with precision that borders on ritual. Every element—tone, costume, space—serves a purpose. She talks about collaboration as architecture, where everyone builds toward the same tension.

In Alien: Earth, she gives shape to Yutani, head of Weyland-Yutani, a woman written into the myth of control. The world around her character mirrors her gravity, the sets by Andy Nicholson, the sculptural tailoring of Suttirat Anne Larlarb, and jewelry imagined from other planets.

shoes LORO PIANA

“Even though I’ve done this my whole adult life, I still have the feeling that I’m just getting started.”

Sandra Yi Sencindiver speaks with Sarah Arendts
for LE MILE .Digital

Sencindiver recalls the process as a study in trust. “You don’t need to make it big or loud,” she says. Her Yutani moves through rooms built on deference, a force measured by stillness and authority.

Between acting and directing, she occupies two distinct frequencies. In Watch, her film that unfolds like a slow pulse, she shaped rhythm through minimalism and control. As a director, she speaks of patience, tone, and the invisible choreography between crew and camera. As an actor, she returns to intuition and the chemistry of shared focus. The conversation moves through laughter, sharp honesty, and the pleasure of making. She speaks of Geek Girl, of award nights that end in chaos and applause, of risks still waiting in the dark corners of arthouse cinema. Sandra Yi Sencindiver is refining energy, tuning stories until they vibrate at the right frequency. Each project marks another layer in a career defined by curiosity, precision, and presence.

total LORO PIANA
jewellery CARTIER

Sarah Arendts
When you step into Yutani in Alien: Earth, the room changes. Do you script that power in advance, or does it arrive in the moment, born out of breath, posture, accident?

Sandra Yi Sencindiver
There is no accident involved, but there is trust. I will get back to that. So many people build Yutani up to be Yutani. It all starts on the page, the way she is written. In the way other characters talk about her. How they pay reverence to her. Then there is the choice of venues, the exclusivity and grandeur of the locations. The way Andy Nicholson dresses the set with such beauty. Suttirat Anne Larlarb, who’s just brilliant, developed this whole concept for her: exclusivity, exquisite tailoring, reptilian, almost brutalist jewelry. We imagined she wears rare stones and metals from other planets. We talked about Yutani as a woman who dresses for no one—not for men, but simply because she takes pleasure in aesthetics, in peacocking for herself. And at the same time, she knows her pristine appearance reflects her role as head of Weyland-Yutani. So, we never see her casual, never informal.

Then you have Connie Parker and Sanna Seppanen, creating a new makeup and hair look for her every single time. They are amazing.

Now back to the issue of trust. With someone who is that powerful, I don’t think you need to make it big or loud. You need to trust that a few but precise choices will be enough. I remember Noah writing: “she has the poise of someone who owns a fifth of the entire planet”. And in episode 1 we even learn she owns a lot of the solar system too, ha! So, I thought that kind of power would translate to walking on water. And I made her soft-spoken, because she’s so used to being listened to. She doesn’t need to raise her voice or move loudly—people naturally give her space. Well, until she meets Boy K, who gives reverence to no one.

Season 2 of Geek Girl is loading—
in one word, tell me the energy of your character this time around. Now expand it into a sentence that only she could say.

“Filip, tell this journalist that Yuji cannot be reduced to one sentence!”

WATCH was yours from the very first line on the page. If the film had a heartbeat, what BPM would it tick at, and who or what sets the metronome?

A very slow heartbeat, that slowly but steadily rises into an eerie, panicked pace—but eventually finds a kind, restorative rhythm at the end.
I wanted everything to feel playful and harmonious on the surface, with just a hint of something slightly off. As if all the pieces are bright and cheerful, yet there’s an undercurrent of unease you can’t quite place. That subtle tension builds quietly, until the truth begins to reveal itself. Then, a few twists shift the focus—leading toward a kind of resolution, but not the one you expect.

Seeking Hwa Sun—nominated for the Danish Academy Award Robert, an echo across the industry. Do you remember the exact second the news reached you, and what sound was in the room?

Well, a couple of months before the announcement, a jury shortlists 10 films from all the Danish entries to Odense International Film Festival and then the academy votes. And on awards night at the festival, they announce the final five nominees. So, when they called out our names, there was this huge roar of excitement and applause from the packed venue. Quite thrilling and overwhelming.

dress NANUSHKA
tights FALKE
shoes JENNIFER CHAMANDI
jewellery CARTIER

Draw me a split-screen: left side Sandra the actor on set, right side Sandra the director in the edit suite. What does each version of you whisper to the other?

They don’t speak at all, ha ha. The tasks are so different—they’re two completely different sides of me. On set, I try to be present in the moment, connect with the people around me, and focus on what the director, my co-stars, and the scene needs. I’m a piece of the bigger picture. In the editing room, I’m the one moving the pieces around, thinking about what came before and what comes after—deciding on the bigger picture. My brain is switched on in the editing room, whereas on set I try to let my body, intuition, and impulses guide me when on set.

Quick-fire, no commas:

book that shaped you

– “Trust” by Hernan Diaz, it really plays with and utilizes perspective as a storytelling device. It was conceptually something that inspired me a lot when writing Seeking Hwa Sun.

a scene that broke you

– oh, I’m such a softy when it comes to films and TV. I cry over so many beautiful and brutal pieces of art. I recently rewatched Parasite, and two scenes are just heartbreaking. The first is when Song Kang-ho’s character, the father posing as a driver, sees his daughter stabbed to death but can’t acknowledge knowing her—and so he can’t help her. And then the ending, when his son, played by Choi Woo-shik, spins this fairy tale about someday becoming successful enough to save his father from the basement. Both are devastating.

a silence you treasure

– when you’re with someone you know so well that you can share a space in silence and not feel the need to fill it with words.

a risk still waiting

– a female auteur offering me a dangerously dark part in an indie or arthouse film. Something Isabelle Huppert would have said yes to 20 years ago.

If tomorrow you had to build a film with nothing but three props and a window, what would you choose, and how would the story unfold?

Oh, what a fun task! I’d choose two characters who live in the same room but at different points in time, and they’d have the same three props: a cat, a bottle of milk, and a bed. You’d watch each of them live through one day in this room—two different people, the same three props, the same window view, but completely different perspectives on life.

Complete the chain for us:

On set I _____

try to be kind and patient. Actors spend a lot of time waiting between scenes—it takes an army to get everything just right. And then sometimes we’ll do the same scene over and over again from every possible angle. It can take hours of shooting to cover just a few minutes on screen. Both the waiting and the repeating can be exhausting. But you also want to give energy to your co-stars so they can shine, and at the same time conserve enough energy for your own moments in front of the camera—so they matter. And of course, the crew are under huge pressure too. There are so many moving parts, and the least we can do is be kind and patient, because everyone really is doing their best. Funny how the hardest work can also be the thing I absolutely love.

Behind the camera I _____

try to be calm and patient. Before I started directing, I thought it was mainly about sharing your vision and giving artistic direction. And sure, that’s part of it—but it’s just as much about setting the tone and the work ethic on set, and about seeing and bringing out the best in your cast and crew while still respecting budget and time. It was such an eye-opener to realize how important every single person and their role is. That experience has made me a more mindful actor, with even greater respect for everyone on set.

At home I _____

wish I were cooler and more patient. Most of the time I really do try to be kind—but why is it that the world gets your best bits, while the people you love most sometimes get the short end? Luckily, my husband and children show me an incredible amount of love and patience. And my kids, especially, are experts at calling me out when I’m being short-tempered. But they all know—because I tell them every single day—that they’re my favorite people in the world, and I love them to pieces.

In the future I _____

wish to bring more great stories to the audience. Even though I have done so my whole adult life, I still have the feeling that I am just getting started!

total THOM BROWNE
jewellery CARTIER

dress ISSEY MIYAKI
shoes JENNIFER CHAMANDI
jewellery CARTIER

dress TORY BURCH
shoes JENNIFER CHAMANDI
jewellery CARTIER

“She [Yutani] dresses for no one—not for men, but because she takes pleasure in aesthetics.”

Sandra Yi Sencindiver speaks with Sarah Arendts
for LE MILE .Digital

photographer + creative director IAN KOBYLANSKI
styling ELENA GARCIA
set design LOUIS TOLEDO
make up SASHA MAMEDOVA
hair ABI IGZ
lighting assistant NICOLA SCLANO

talent SANDRA YI SECINDIVER
via TELESCOPE