Milena Smit - Interview

MILENA SMIT
*Between Frames

written + interview Alban E. Smajli

Milena Smit moves through cinema with an intuitive force. As an actor, she absorbs characters at their core, shaping them from within. A script carries an atmosphere that guides her, each role unfolding through presence and instinct.

Her first rehearsal with Pedro Almodóvar and Penélope Cruz marked a shift. The industry took notice. Without formal training, she learned on set, refining her craft through experience and deep collaboration.

Time on set is fluid, shaped by waiting, by intensity, by the energy of those around her. Beyond acting, new ambitions form—studies, personal growth, the idea of motherhood. Every role, every decision, every moment exists fully in its own space.

dress ISABEL SANCHÍS
jewelry YVES SAINT LAURENT
heels FERRAGAMO

Alban E. Smajli
When you take on a role, do you see it as an act of becoming—or of undoing?

Milena Smit
For me, the key is learning to work with the emotions of the characters while disconnecting from those that might trigger my own personal wounds. I used to rely on my own emotions and experiences, but it took a heavy toll on my mental health.

What does “Ephemeral” mean to you in an era that’s obsessed with capturing and archiving everything?

Being present, so those small moments don’t slip by unnoticed.

Do you think cinema is closer to memory or to dreaming?


I believe it’s a perfect blend of memory and dreams, with a touch of magic added.

Is there a single moment in your career so far that you wish you could bottle up and keep forever?

The first rehearsal I had with Pedro Almodóvar and Penélope Cruz in their office, back when I still didn’t know if I was going to play Ana in Parallel Mothers.

When the script is in your hands, what pulls you in first? Is it the story, the silence between the words, or the world it creates?


The aura of the script, the energy conveyed by the story and the character.

Your work feels like you’ve found beauty in imperfection. How much of that is you, and how much comes from surrendering to the process?

I try to approach everything I do from instinct and gut feelings. I don’t have much experience with technique, since my school has been the work itself and the people I’ve had the pleasure of collaborating with on various projects.

What’s more exciting to you, playing a character who feels like home or one that feels completely foreign?

I like the duality of both. I wouldn’t know which one to choose.

If your life were a film, what genre would it be today? Would tomorrow maybe be something else?


Right now, it would be a documentary about spirituality (laughs), but there have been moments of everything—drama, horror, romantic comedy…

What’s your relationship with time when you’re on set? Does it move too fast or too slow?

It depends on the day. On set, there’s always a lot of waiting, but I try to bring a book for those moments or enjoy the time with my colleagues. However, there are also days that are tough.

What excites you most about the worlds you’re bringing to life next?

Fulfilling other dreams, like continuing my studies, growing personally, becoming a mother someday, and living precious moments with my family.

total look DSQUARED2

dress HHABEY CLUB
shoes JIMMY CHOO

“I used to rely on my own emotions and experiences, but it took a heavy toll on my mental health.”

Milena Smit speaks with Alban E. Smajli
for LE MILE Issue 38 / Ephemeral Edition SS25

full look SAINT LAURENT

full look LOEWE
jewelry BULGARI

full look ARMANI
jewelry BULGARI

talent MILENA SMIT
photographer LEIRE CAVIA
set designer JOSEFINA MAIZA
stylist MANU MENDI
make up + hair REBECA TRILLO-FIGUEROA using YSL Beauty
photo assistants ALBERTO FERNANDEZ + NICOLE WAR + ELENA DIAZ
set assistan t DELFINA AYERZA
stylist assistants RAUL GONZALEZ + MARIA GADEZ

Thanks to CRAM TALENT

Elizabeth Dulau - Interview

ELIZABETH DULAU
*Transformation Characters Across Star Wars, Netflix & Stage

written + interview Alban E. Smajli

Actor Elizabeth Dulau is entering a season shaped by roles with weight—political, historical, emotional. As Kleya Marki in Andor, she returns to the Star Wars universe for its final chapter, joining Diego Luna and Stellan Skarsgård.

Her presence remains precise and charged with a quiet urgency. In House of Guinness, created by Steven Knight for Netflix, she plays Lady Henrietta. The story follows the Guinness family across Ireland and New York in the 19th century, navigating legacy and fracture after the death of Benjamin Guinness. Dulau also voices the Piebald Deer in Wicked, a brief but memorable role.

She has appeared in Maternal, All The Light We Cannot See, The Outlaws, and Gentleman Jack, building a body of work that feels grounded and deliberate. Each performance speaks in its own register. In this interview, Elizabeth shares thoughts on transformation, emotional access, and the quieter moments that shape a role.

dress SPORTMAX
earrings BONVO

Alban E. Smajli
You’re orbiting galaxies in Andor, slipping into corsets for House of Guinness, and voicing trembling deer in Wicked—what does it feel like to be a shapeshifter in a world constantly asking for identity?

Elizabeth Dulau
Yeah, this is an important discussion. I am a firm believer that actors should be allowed to transform into people far removed from themselves but there are boundaries that shouldn’t be crossed. There are some lanes that I very clearly do not belong in and that’s ok, that’s someone else’s lane. There’s still scope for shapeshifting within the lanes available to you.

I think it’s also important to acknowledge however, that a person’s identity can in many ways change throughout their life. This pressure to clearly define oneself is something that feels counterintuitive to me. As I’ve gotten older, I’ve realised actually being more of a shapeshifter in some respects feels natural to me and maybe that is part of my identity. It allows for growth and change and playing and to be honest that is why I’m drawn to being an actor. It allows me to really explore all the different sides of myself. To be honest, none of the roles I’ve played (yes, even the deer in Wicked) feel like someone other than myself. Every character feels like a singular thread of myself I pull on and enhance in order to transform.

The industry often feels like a theatre within a theatre. Where do you find the unscripted moments that still feel real?

I think these moments are found in the people you meet. Every now and then you’ll come across a real gem of a person with whom you can drop any professional guard and just be a messy human. I’ve certainly found that with Jacob James Beswick on Andor and Jennifer Macbeth on Maternal. People like them don’t come along often and I think it’s important to sit up and take notice when they do.

House of Guinness is soaked in legacy and loss. How do you personally move through stories drenched in history without getting stuck in the past?

When playing any character that is in a situation far removed from your own it’s important to remind yourself that your shared humanity connects you. Yes, do your research on the world in which they live, the etiquette, the politics, the faith systems but they are still a flawed person just like you. They will feel love, desire, rage, jealousy, grief and you can access their inner lives through your own experience of these things.

You’ve been part of massive universes (Star Wars) and deeply intimate dramas (Maternal). Which scale do you dream in?

My god I LOVE this question! I think my dreams range throughout many different scales. I am a big daydreamer and was often made to think it was a problem. I was constantly told to stop daydreaming and concentrate! But I realised while I was at drama school that my daydreaming is what helps me connect to my characters. I can happily spend hours dreaming up backstories for my characters to enrich their presence. I like to take the same approach to my own life too, dreaming up an ideal future for myself to then take steps towards it.

Fashion—do you see it as armour, as performance, or as rebellion? Or something more private?

I see it as all of the above. Fashion is one of the most accessible forms of self-expression and we’re always expressing ourselves with it whether we realise it or not. What we choose to cover ourselves with externally reflects something that’s going on internally. Maybe it’s a front, armour, a performance or a truly authentic expression of how we’re feeling in that moment. I love using fashion as a mode of creativity and character. When filming self-tapes for an audition, a really easy way to feel like that character might be throwing on a shirt or a pair of shoes that make you walk differently. In our everyday lives we can put on a different combination of pieces that make us feel like a subtly different version of ourselves and that feels so exciting to me.

dress + shoes SPORTMAX
earrings BONVO

coat SELF-PORTRAIT
tights FALKE
shoes ROGER VIVIER
belt + earrings FASHION ARCHIVE

“None of the roles I’ve played (yes, even the deer in Wicked) feel like someone other than myself.”

Elizabeth Dulau speaks with Alban E. Smajli
for LE MILE Digital SS25

How do you prepare for a role that requires emotional submersion—but still demands you show up, camera-ready, hair lit, line perfect?

All the camera-ready elements I don’t even think about. That’s someone else’s job. I let them look after that. As for the emotional submersion, there are a combination of factors at play. Good prep is always a winner. Again, I will often use daydreaming in the run up to a shoot to flesh out their life. I also use music a lot. Music accesses a part of our brains that logic simply can’t, so I create various playlists for each character and just before we shoot I’ll listen to a song that’s helpful. But the moment the director calls action I let go of all that prep and just focus on my scene partner, trying to change them and allowing myself to be changed by them. You have to trust that all your prep is there in the background without you having to hold on to it.

There’s a certain hush in your roles—quiet strength, subversion, layered tension. Where does that stillness come from?

I think this comes from a certain amount of internal conflict. I’m often drawn to characters whose outer projection is quite different to their inner lives. Kleya for example has a very cold and controlled exterior but I played her with the conviction that deep underneath all those external layers is someone who loves very deeply and holds a lot of hurt and rage. There’s something a little wild in her. I think this sense of stillness is born from the tension between those inner and outer lives. I’m suspended between the two.

Imagine a film directed by your future self—what genre would it be, and what would the costume department look like?

I’m very intrigued by sci-fi actually. I think it’s a really useful tool with which to ask questions about our world. And I have lots of questions! The costumes would probably be pretty elaborate. I’d need to get Michael Wilkinson on the team!

You’ve been part of a galaxy far, far away and now a dynasty built on stout. What story hasn’t been told yet, that you're dying to step inside?

I’m really inspired by filmmakers like Mark Ruffalo who use film as a form of activism, shining a light on important issues. Personally, I think there are more stories that need to be told about the climate crisis because there’s still so much apathy towards this issue.

The real change would only come about when government and major corporations commit to change but I believe we could bring about that change if we collectively put enough pressure on them. There’s so much potential for film and TV to create social movements, just look at Netflix’s Adolescence or ITV’s Mr Bates vs the Post Office. Both dramas created such a huge public response that the government took action and maybe there’s scope to do the same with the climate crisis.

talent ELIZABETH DULAU
photographer ANTONIO EUGENIO
stylist PRUE FISHER
hair ERIKA NEUMANN
male up PHOEBE HEARD
photographer assistant DANIEL EYNON

Special thanks to Grace Yeoman, PR Pinnacle

blazer ARMANI EXCHANGE
trouser ARMANI EXCHANGE
bra INTIMISSIMI
shoes MANOLO BLAHNIK
earrings FASHION ARCHIVE

coat THE FRANKIE SHOP
tights FALKE
earrings MISHO

shirt + shorts THE FRANKIE SHOP
tights FALKE
shoes MANOLO BLAHNIK
earrings MISHO
belt FASHION ARCHIVE

“Fashion is one of the most accessible forms of self-expression… What we choose to cover ourselves with externally reflects something that’s going on internally.”

Elizabeth Dulau speaks with Alban E. Smajli
for LE MILE Digital SS25

Franco Masini - Interview

FRANCO MASINI
*Between Cities, Scripts, and Style

written + interview ALBAN E. SMAJLI

Franco Masini moves with intent to generate monumentum. Actor, producer, reader of places, collector of moments—he expands his practice through curiosity and risk.

His latest project, a theatre production he’s independently bringing to life, marks a shift toward authorship. Ownership of process. Control of tone. A story he performs and constructs. Fashion is part of his language. He responds to designers like Adrian Appiolazza and Jonathan Anderson for their ability to distort form with precision. He keeps a close eye on Matias Carbone, an Argentinian voice now emerging across Europe. Masini assembles identities. and his wardrobe edits itself in real time.

watch FILM

full look MOSCHINO
tie FURSAC

blazer TRANSE PARIS
vest IGOR DIERYCK
jewelry ALT PARIS

Alban E. Smajli
Your career moves like a shifting lens—what’s in focus for you right now?

Franco Masini
I love the movement of my career. I think it’s really important to stay focused on new things and to have opportunities to learn and grow as an actor. My next step is to produce a new theatre show—I’ve already acquired the rights.

Which designers are speaking your language this season, and what are they saying?

There are many new designers doing amazing work. I really like Adrián Appiolaza and Jonathan Anderson—they’re very creative and always producing unique and thoughtful pieces. I also really like Matías Carbone from Argentina, who is expanding his brand into Europe.

If your wardrobe were a film, who’s directing?

My wardrobe has many different elements. I think it would need a very unique director. I enjoy changing styles, designers, and colours, and creating my own “Franco” style. I get bored easily—haha!

Art and fashion exist in dialogue. Where do you see the conversation heading?

Art and fashion are two things I really enjoy. I love how creators express their own perspectives through clothing.

Museums capture time, fashion rewrites it—what recent art exhibition has stayed with you?

I really liked ARCO in Madrid—a week of contemporary art, with so many creatives and amazing artists.

What does personal luxury look like for you beyond the obvious?

Personal luxury, for me, is in meaningful moments with the people I love—like visiting new places, discovering new countries, or sharing great food with friends. That’s the best.

What city makes you feel most like yourself?

I think Buenos Aires is the place—full of movement, art, cinema, friends, and always something to do. Madrid feels like my second home. It’s also incredible.

Morning ritual or midnight impulse—when do you feel most alive?

I feel most alive in the morning. I love waking up, going for a run near the river, and then having breakfast with a book. I really enjoy reading in the morning.

If you could archive a single look from your life, what would it be?

That’s hard to say because my life is in constant motion—and I love that. I’m always meeting new people, living in new places, exploring new cultures. I appreciate my job because it allows me to reach so many parts of the world.

What’s the last thing that truly surprised you?

The last thing that surprised me was meeting Adrien Brody at Paris Fashion Week. I really admire his work, and it was great to talk with him. We were seated in the same row. I’ve seen all of his movies.

full look JACQUEMUS
jewelry ALT PARIS

full look MOSCHINO
jewelry ALT PARIS

He begins his days by the river, running along the water as the city slowly wakes. What follows is quiet and deliberate: coffee, a book, the kind of solitude that aligns the mind before the rest of the world demands attention. Mornings carry a clarity that sets the pace for everything that comes after—travel, conversations, creative shifts, the layering of roles and identities. Buenos Aires flows through him with instinctive rhythm, while Madrid offers a different current, equally present in his internal map. Each place contributes to the structure he’s building—fluid, expansive, unfinished by design. His idea of luxury moves away from display and towards sensation. A shared plate with friends, the atmosphere of a new neighborhood, the texture of unfamiliar languages and streets—these are the moments that stay.

The value is in gathering feeling, in building a personal archive made of people, places, and presence. At Paris Fashion Week, he found himself seated next to Adrien Brody. A quiet dialogue unfolded—film, performance, process. Nothing staged. Just two people exchanging thoughts in a shared space, surrounded by movement but anchored in something still.
Franco Masini lives in progression. Style evolves, environments shift, energy recalibrates. What stays is the drive to create—not as an end point but as a state of being, a continuous act that shapes and reshapes itself in response to what enters, what unfolds, and what he chooses to carry forward.

full look ARTURO OBEGERO
shoes CAMPER
jewelry ALT PARIS
watch CARTIER

full look EVAN BENJAMIN
socks + shoes MOSCHINO

credits
photographer LOUIS TERAN
stylist SIMON NNDJOCK
talent FRANCO MASINI
set designer CLARA DE GOBERT via APICORP AGENCY
movement director ROBIN LABARRERE
hair PAUL GOMEZ
make up MANON CANA via BUREAU ALAGNA
nails MAHARA DIARTE-ZEROUALI
casting director MARVIN LATOURNALD with MODELS LANE
production TABATHA RUSSO at BUREAU ALAGNA
photographer assistant STEVEN BAILLIN

special thanks to Tatiana Dumabin

Dylan Llewellyn - Interview

DYLAN LLEWELLYN
*Brewing Moments

written + interview Sarah Arendts

Dylan Llewellyn moves through stories like an architect of feeling. Captured mid-conversation, coffee in hand, the setting mirrors the essence of his work—unfiltered, natural, alive in the moment.

Every role expands the space it occupies, stretching humor into unexpected depths and carving out moments that stay long after the scene ends. His presence on screen is charged—words, expressions, silences all calibrated for maximum impact.

jacket + shirt NANUSHKA

Comedy fuels his process. A living language of timing, movement, and instinct. The humor lands, not as an escape, but as an excavation of something real. Derry Girls, Big Boys, Beyond Paradise—each project a new rhythm, built with precision, delivered with an effortless pulse. Llewellyn works with momentum. The industry shifts, names rise and fall, but the resonance of his performances embeds itself deeper. Not tied to nostalgia, not chasing permanence. Just sharp storytelling, lived-in characters, and the kind of presence that doesn’t ask for space—it takes it.

knitwear SANDRO
blazer THE FRANKIE SHOP
jeans O.FILES
loafers DR MARTENS
socks FALKE
rings MAYA MAGAL

Sarah Arendts
What does comedy allow you to express that drama doesn’t?

Dylan Llewellyn
I think comedy lets you have more freedom with your performance. You can go from being extremely serious and deadpan, but still leaning into the humour, to being super silly and over the top. There’s a whole variety of comedic styles to explore and I think that’s the main difference.

You’ve inhabited roles that capture the awkwardness, rawness, and humor of coming of age. Can you think of a moment in your life that felt like it could be part of one of your shows?

I think we’ve all experienced that classic moment of getting ID'd when you're in your teens. I remember going to see a 15-rated movie in the cinema when I was around 17 years old. They wouldn’t let me in because I didn’t have my passport or ID on me, so I had to call my parents to come down with it. My older brother came in and asked the staff where I was… They said “Oh, he’s just waiting in the bar.” My brother goes, “Oh what, so you let him hang in the bar but not let him watch the 15-rated movie?” That was quite a funny classic story of growing up and being ID’d.

Fame doesn’t last forever. What’s the one thing you hope to leave behind in the industry?

What I hope to leave behind in the industry and my acting career is just a sense of joy in the roles I’ve played – from Derry Girls to Big Boys. Those comedic roles have been such a joy and so much fun to perform. I’ve also loved working with so many talented actors along the way. I hope it inspiresyounger generations to get into comedic acting and to carry on that torch. For me, The Inbetweeners inspired me growing up, especially during school days. I grew up watching them and thought I’d love to do something like that. Then Derry Girls came along, followed by Big Boys, so yeah, I hope I can do the same for another young actor or actress.


Jack’s journey in Big Boys is deeply personal yet universal. What’s the most surprising reaction you’ve received from fans?

I think what surprised me most about the response to Big Boys is just how many people relate to it. But at the same time, it’s not that surprising because all those subjects – grief, mental health struggles, friendship, family, and sexuality – are so relatable. A lot of people can connect with those topics. What really stands out to me is how much it’s hit home for so many, with people speaking out about how much those themes mean to them, especially the dynamic of friendships – specifically the dynamic of the gay and straight friendship between Jack and Danny.


You played Wally Nightingale in Pistol, a musician lost in punk history. Do you think he would be remembered differently if he were around today?

When it comes to Wally Nightingale, the character I played in Pistol, it’s a really sad story. He lived the rock and roll lifestyle but without the fame or the money that came with it. I think, and I hope, he’ll be remembered fondly as one of the roots for the Sex Pistols – someone who helped lay the foundation for what they became. I really want him to be credited and recognized as such.

Your characters are often outsiders finding their place. Do you see yourself in them?

Yeah, I think I bring a little of myself into all my characters. I lean into their characteristics more and just make them themselves – their own personalities, their own people. I’ve played a lot of vulnerable, awkward, coming-of-age characters who are finding themselves. But I’ve also played characters who are more confident, like Kelby Hartford [from Beyond Paradise]. I think Kelby is very confident in himself, and even Wally Nightingale from Pistol was pretty confident in his abilities.

Some roles stay with actors forever. Have any of your characters changed the way you see the world?

I think the character of James in Derry Girls has made me learn about Irish history and developed my appreciation for Irish people and how amazing they are. The character of Jack in Big Boys shows the incredible bravery of people discovering themselves, both with their sexuality and with grief, as well as their mental health. I think Wally Nightingale in Pistol made me see the world with more appreciation for music, for being kind of weird, and not caring about being normal. I think that was the whole message of Pistol, the show, and the Sex Pistols in general – it was all about letting your freak flag fly and being okay with not being normal. The whole punk revolution shows that, so yeah, I think I’ve learned a lot from these characters, their stories, and the show’s stories.

Both storytelling and life are temporary. Do you try to make things last, or do you embrace their short-lived nature?

I think I do try to make things last whenever I can but I also embrace the short-lived nature of things as well. I think you can enjoy both sides of it. That’s kind of me to a T – I’m definitely someone who’s glass half full but also half empty at the same time. I think you can see both sides of it and I feel likeit’s a healthy way to look at things – considering every perspective and mentality. Yeah, it’s a tough one, I think.

What’s a role you’d never take—and why?

Actually, there are lot of roles I am open to and really want to take a crack at. I mean, I'd love to play villain or a darker role, or just a role that’s completely different from what I’m usually cast in. I'm always up for the challenge and I’d love to explore those kinds of roles more and really get my acting teeth into them

“Comedy lands, not as an escape, but as an excavation of something real.”

Dylan Llewellyn speaks with Sarah Arendts
for LE MILE Nr. 38 - Spring/Summer 2025 Edition

coat NANUSHKA
shirt DOLCE & GABBANA
jeans O.FILES
ring MAYA MAGAL

credits
talent DYLAN LLEWELLYN
photographer ANTONIO EUGENIO
stylist MILLIE CULLUM
grooming CHARLIE CULLEN using @babylissprouk & @shakeupcosmetics
photographer assistant DANIEL EYNON
fashion assistant AMY HARFOOT
location Special thanks to Mae + Harvey, East London

Kris Marshall - Interview

KRIS MARSHALL
*Inside the Mind of DI Humphrey Goodman

written + interview Alban E. Smajli

Kris Marshall moves through roles like pages in a living archive. Each return to DI Humphrey Goodman is a recalibration, a quiet shift in tone, pace, inflection.

The detective doesn’t arrive fully formed; he extends through time, carried by instinct, built through decisions that remain invisible until they aren’t. Kris Marshall works with precision. He feeds the character small changes—gestures, rhythms, interior logic. In Beyond Paradise, nothing is static. Everything folds back into the work: his references, the sea, the energy of a long shoot, the movement of strangers who never knew they were being studied.

jumper + trousers RALPH LAUREN
socks FALKE
shoes SANDRO
sunglasses THE AVANTGUARD
jacket THE FRANKIE SHOP

He rarely speaks in absolutes. Scripts are approached like open systems. Scenes are lived, not performed. He notes structure, then lets it bend. The repetition of a character over seasons becomes an act of endurance, not rehearsal. Ideas are planted early and left to unfold over time.

Memory plays a role. So does observation. He remembers the weight of theatre nights, the long haul of production days, the silence that follows a line well delivered. Meals with Pacino in Italy exist in the same archive as his first stage rehearsals—held not for anecdote, but for texture.

In conversation, Marshall cuts through sentiment. He speaks clearly about work. The physical toll. The mental timing. The need to rest before the next scene. Acting, for him, is not escape—it is a study in repetition, and the possibility of nuance inside repetition.
This interview traces Marshall’s ongoing practice—returning to characters not to resolve them, but to remain in conversation with them. He shares what drives him on set, what surprises still occur, and what advice he carries forward. No grand epiphanies. Just a steady commitment to showing up, seeing clearly, and staying inside the craft.

suit + shirt RALPH LAUREN
tie SANDRO

“Every character I play is a part of me… Which has to be true otherwise you’re not going to believe it yourself, so how can you expect other people to.”

Kris Marshall speaks with Alban E. Smajli
for LE MILE Digital SS25 - on Beyond Paradise

Alban E. Smajli
What keeps drawing you back to DI Humphrey Goodman? Is there still more of him to uncover, or do you just enjoy the ride?

Kris Marshall
Well, I’m not gonna lie and say that enjoying the ride isn’t a part of it, because both incarnations of him have lived by the sea, and I spend as much of my free time in it and on it as possible. Which is joyous. But there’d be no point if I didn’t feel there was more of his character to discover. As I get, shall we say, less young, it’s important to convey his changes as well, so there’s that, and I’m constantly throwing in new ideas and homages to my favourite detectives and other characters in TV and film that have influenced me.

From Love Actually to Beyond Paradise, your career spans rom-coms, crime dramas, and theatre. Where do you feel most at home?

Not working!.. No I’m kind of kidding. I came up through theatre, it’s all I did for the first 6 years, and even though after that I’d probably only do a play every 4 or 5 years, you can never replicate that kind of peril and immediacy on TV and film. But there’s something about building a character over a long shoot, and the fact no two days are the same, that I’ve always found beguiling.

Humphrey is a detective who sees the world differently. What’s a case you’d love to see him tackle in Beyond Paradise?

A corrupt politician. He’s renowned for being pretty open-minded, fair and kind, but he has a healthy disdain for and a delight in unpicking capricious and arrogant people who view him as strange and hopeless. It’s the Columbo/Marple gene, to lure antagonists to their doom!… Failing that, anything to do with surfing, for reasons mentioned above.


You’ve played both hopeless romantics and sharp-witted detectives. Which role is closer to the real Kris Marshall?

I would say both and neither. If that’s not too obtuse. I think Jack Nicholson said ‘Every character I play is a part of me’… Which has to be true otherwise you’re not going to believe it yourself, so how can you expect other people to. But also, they’re not me, because I study other people’s mannerisms and walks and use them as well. 


What do you think makes Beyond Paradise resonate so strongly with viewers?

Well, of course the location is beautiful, bucolic and colourful. But also, people love puzzle solving, so it’s somewhat interactive on that front. But the main reason is it’s not too dark and violent and doesn’t take itself too seriously, so it’s watchable across demographics. I’ve met people who say it means a lot to them as it’s something they can bond watching with their parents and children, which I think is delightful. 

You stepped back into Sanditon's Tom Parker and Beyond Paradise's Humphrey Goodman. How does revisiting a character change your perspective on them?

Filming is often arriving at a location you’ve never seen, and then getting the best takes within the allotted time, before you move on to another location you’ve never seen!… Whereas in theatre, you get to go back and slightly alter and hone your performance every night. So getting the chance to revisit a character again on film is, if you’ll forgive the mixed metaphors, another crack at the cherry. 


Theatre, film, TV—each demands a different energy. Do you approach acting differently on stage versus on screen?

I guess they all involve conserving energy. Filming is getting up at 5.30am, working until 7pm and then eating and getting enough rest to do that for anything up to 6 months. Theatre is all about building enough energy through the day for an evening performance, and then not getting too carried away with enjoying the nighttime after the show…Because the older I get the earlier I’m up!

Keeping in mind that you’ve worked with some of the most celebrated actors in the industry, what’s a moment that still sticks with you?

Working with Al Pacino on The Merchant of Venice. We were away on location in Italy and nearly every night after work he’d insist on us all having a sit-down meal in different restaurants. One night he even came clubbing with us younger actors, and seeing this absolute legend grooving to a heavy bass in a European nightclub was something I’ll never forget.

Have you ever been truly surprised by a plot twist in one of your own scripts?

Nothing that particularly springs to mind I have to say. Although I’ve had a fair few scripts through where you get to page 5 and it says ‘And then he dies’!… And you’re thinking, I’m actually quite insulted you thought I might want to play this role man…!!


If you could time-travel back in time, what advice would you give to your younger self?

That whatever it is you think is the right way to do it, is the right way to do it…
And stop smoking dude…

credits

talent KRIS MARSHALL
photographer DAVID REISS
stylist PRUE FISHER
grooming JOLANDA COETZER

full look RALPH LAUREN
socks FALKE
shoes SANDRO

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also read
.aesthetic talk VIVIANE SASSEN *Light, Color, and Identity

suit + shirt FURSAC
boots SANDRO

“Getting the chance to revisit a character again on film is, if you’ll forgive the mixed metaphors, another crack at the cherry.”

Kris Marshall speaks with Alban E. Smajli
for LE MILE Digital SS25 - on Beyond Paradise

Kyshan Wilson - Interview

.aesthetic talk
The Multifaceted Prism of
KYSHAN WILSON

written + interview Chidozie Obasi

When it comes to a grounded star quality, many can only dream of having the determination, skill and poise possessed by Kyshan Claire Wilson.

After her noteworthy appearance in the acclaimed fiction Mare Fuori, the rising talent has made herself between the allusive streets of East London and Naples. But, while a domination of one of the world’s most coveted industries would be a career-high for some, it’s not what the multi-faceted actress plans on seeking for just yet: from moments of doubt to gushes of thrill, the actress began to exceed her own expectations and transcend career boundaries on her own terms, cementing her as a rising star worthy of the name.

total look LOUIS VUITTON

TEAM CREDITS

seen NICOLÒ PARSENZIANI
fashion director + stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
fashion coordinator DAVIDE BELOTTI
grooming CRISTINA CROSARA via THE GREEN APPLE ITALIA
set design IRENE COVERI
video VALENTINA GILARDONI

digital EDOARDO MONTACCINI
talent KYSHAN WILSON via WHYNOT MODELS
light assistant GIUSEPPE PALAZZOLO
production assistant ANJA MENEGON
fashion assistants ISABELLA PETROCCHI + LILLY PADILLA + VALENTINA VURCHIO

blazer ACN N1
shirt GRIFONI
top + shorts SANDRO
pants ALBERTA FERRETTI
bracelets DOLCE & GABBANA
loafers CHURCH’S

“I'm a black woman, I’m perceived by the world as a black woman and I identify as one. But I'm not going to act like I'm not aware of my mixed privilege, being mixed.”

Kyshan Wilson speaks with Chidozie Obasi
for LE MILE .Digital

total look LORO PIANA

total look PRADA

watch film

filmed VALENTINA GILARDONI

film assistant LUCA ZITO

“Both professionally and personally, I've been on sets that have inspired me a lot artistically,” she says, the moment we begin to settle into our conversation. “I've been around people that have made me more driven, but I've always been ambitious.” However, in an industry where saturation is increasingly commonplace, there are moments able to hit one’s stride with troubled force. “There are times when you get less auditions, and that ambition doesn't go away, but it can drift in and out. This year, I've met people that have really lit that fire in me again, so I'm really grateful.”

Wilson’s first memory of film has been the experience of viewing an eclectic array of products both on TV and in cinema. “I've always loved being able to live someone else's life, whether that be for an hour or three,” she reminisces. “I've always loved the kind of escape from reality, which can sound bleak, but it was always that for me.”

Wilson recalls having this dream that didn't feel tangible while growing up, not being part of the industry’s nepotism and without connections. “It almost felt that it wasn't the path set out for me,” she explains. As a kid, she forced everyone in her family to watch hour-long shows, which helped her to unleash her inner potential. “The first time I realised that this could be a career was with Mare Fuori, when I started the auditioning process which kind of came out of nowhere,” she opines. “It was this surreal, emotional moment where all of little Ky's dreams were coming true.”

As a woman of great poise, Wilson credits her mother as a main source of inspiration throughout her life. “She was and still is a single mum, and the strength she had to move us into a different country all on her own while always providing on her own has definitely been the biggest element that makes her a role model,” she says, explaining how “she'd be surprised to hear this.” Wilson deems her entire family an anchor. “They’re not afraid to tell me when I'm doing too much or how privileged I am to be in my position at times, and I think that's very important to have people that stabilise you.”

jacket FENDI
shirt BLAZE MILANO
skirt FERRAGAMO
necklace ILENIA CORTI

blazer PHILOSOPHY di LORENZO SERAFINI
pants MARK KENLY DOMINO TAN
socks PAUL SMITH
shoes DR MARTENS

“I want to be a Bond girl! Maybe if I put it into the universe, it will come to fruition.”

Kyshan Wilson speaks with Chidozie Obasi
for LE MILE .Digital

coat PAUL SMITH
sweater AVANT TOI
shirt AVIU
skirts VIVETTA
jewels DOLCE & GABBANA

coat + tights JIL SANDER by LUCIE & LUKE MEIER
top FERRAGAMO
skirt AVIU
shoes DOLCE & GABBANA

When speaking on her role in the fiction Mare Fuori, Wilson—named Kubra in the series—speaks frankly about the impact and the relevance her role had in relation to the broader context of the script, which portrayed her as the daughter of a troubled prostitute harassed by male toxicity. “I find this really interesting because my thoughts on Kubra specifically, in Mare Fuori, aren't maybe what you would expect, because the fiction is recounting the story of a group of teenagers in a juvenile prison,” she says. “So I think given that context, for me as an actress, it felt less frustrating and jarring because all of our characters have done terrible things to end up in a juvenile prison.”

Most of the characters came from hard, tough backgrounds, and it’s exactly the reason why her role “didn't feel like the classic stereotypical black actor cliche, where there’s a tendency to cast only poc in degrading roles.” She didn’t feel it was as harsh as other roles in the film industry at large. “There are roles I've played where I’ve definitely felt more pigeonholed, but I think given the context (again, of a prison), I didn't really expect anything less than that.” Wilson took that as a challenge and made Kubra a profound and complicated character that wasn't defined solely by those stereotypical black traits. “I tried to make the best out of it and make her as layered as possible to show the intelligent and funny and human and vulnerable side to her, not just the angry black woman kind of cliche.”

Leaning on representation and the importance of inclusion, in an industry that often exacerbates the state of it at the expense of white privilege, she speaks with unguarded honesty. “I think there's a desperate need to work on representation, especially in Italy, and to be clear I talk about Italian cinema and TV because that's my experience,” she says. “When I talk about more representation, I talk about working on representation. It means not only we don't want roles that are defined by the way white people perceive Blackness, but I also refer to the process of recycling roles intended and written originally for white people, already played by white people, and given to black people as a token.” Wilson deems these attempts “lazy,” and she’d rather see people “invest time, money, invest effort and writers into creating and curating our own stories; stories that take into consideration the black experience, without making it a cliche.” Additionally, Wilson thinks that “sometimes it’s done well and is cool, but most the time feels cheap”

So I cannot help but wonder: how does an actress with such depth and sensitive line of thought perceive otherness and colourism? “I'm a black woman, I’m perceived by the world as a black woman and I identify as one. But I'm not going to act like I'm not aware of my mixed privilege, being mixed,” she freely admits. “I have softer hair and European features, and I'm not going to deny that I believe that has had a positive impact on my career.”

total look SPORTMAX

dress VERSACE

Moving on to softer ground, I ask about the roles she’s cherished the most. “I love Aura in Those About to Die,” she says. “I think there's a lot to play around with, and I think if we get the opportunity to proceed with another series there would be a lot to dive into within her psyche. I love her strength, not in the classic way we see strong characters - but a strength that lies within her vulnerability.” The series explores an unveiled side of Rome: the dirty business of entertaining the masses through blood and sport. “She’s vulnerable, as she's sold into slavery but she's still the rock for her sibling and her mother, and her maternal figure leans on her a lot,” she says. “I love the parallels of strength and vulnerability, particularly when those two things can co-exist because I don't like flat characters and no one wants to see.”

And, if that wasn’t enough, between ensuring that her passion for acting never fades and that her diary is never empty, Wilson is well engaged in the fashion scene. “Fashion is art and it’s expression, and I love any form of art and expression,” she opines. “I'm a very creative person and I'm drawn to cinema, fashion, paintings and any art.

So I love any opportunity I get to be a part of this world: we work very hard with both my fashion modelling agency, WhyNot, and my cinematic agency, Karasciò, to intertwine all projects and make sure that I have the opportunity to be at events, but also so that doesn't get in the way of sets. And they're very good at accommodating each other and me and making it all work.”

What does she hope for the years to come? “To still be doing what I love, which is acting,” she says, her head nodding with excitement. “I also hope to be living in another city, as I love moving around, and I definitely want to slowly emerge into the international world of cinema and TV.”

We’re way past our allotted interview time, and as the end-of-year holidays are fast approaching it’s apt to muse over Wilson’s new year resolutions. “I want to be a Bond girl!” she wildly chuckles, as we wrap up our conversation. “Maybe if I put it into the universe, it will come to fruition. But on a serious note, I just hope to keep doing things to make me fall more in love with my craft, becoming better at it.” And, just like Wilson, I very much hope the same.

Itzan Escamilla - Interview

.aesthetic talk
ITZAN ESCAMILLA
*Breaking the Script

written + interview Juan Martí

It’s a pleasant and very surprising feeling when you discover that an actor is nothing like the characters they portray. That’s what happens with the young Spanish actor Itzan Escamilla.

The Madrid native is fun, cheeky, curious, and a huge film buff, with a particular love for horror movies. Like the characters who survive at the end of a horror film, Itzan has managed to escape typecasting and become something much bigger than his role in Élite. His passion for film isn’t limited to his acting career; he’s also a big consumer of filmographies, always ready to watch the next great movie, whether it’s a horror classic like The Exorcist or something more contemporary like Hereditary. His life took a drastic turn when he starred in Netflix’s teenage hit Élite, which turned him into a mass idol, almost like the protagonist of a horror movie who suddenly becomes the 'chosen one' of a new generation.

Now, after leaving his time at Las Encinas behind, Itzan is looking to take on new challenges, like returning to theater, this time with the genius Ana Rujas. It’s like a 'new beginning' in his career, like when the monster of the story finally faces its greatest challenge. While we await the premiere of that new play, we can enjoy his most international project on Apple TV, the thriller series Midnight Family, which stars him alongside one of Hollywood’s rising stars, Diego Calva. One thing we can be sure of: Itzan Escamilla’s adventure has just begun, and the suspense over what comes next in his career remains like a mystery movie that never loses its tension.

full look MAISON MARGIELA
pants KENZO

coat + pants KENZO
shoes CAMPERLAB

Juan Martí
Itzan, I’m so glad to talk to you! How are you?

Itzan Escamilla
I'm good, thank you! I’m preparing for the play I’ll premiere next year.

You star in La Otra Bestia, an adaptation of the book by actress and director Ana Rujas, right?

Yes, that's right. It will premiere at Matadero Madrid.

But you didn’t know her personally before, did you?

No, I knew her by sight. We’d greeted each other a few times and followed each other on Instagram and social media, but that was about it. Then, she wrote to me, saying she was preparing this play and that she’d love for me to participate. She sent me the script, I read it, and I really liked the character. We started exchanging messages, and at first, it was a bit complicated because I wasn’t sure I could do the project. It clashed with another commitment. However, there was an internal situation, and they decided to create a shared character because the actor originally cast for my role also had another commitment. Since neither of us could be available full-time at Matadero, they decided to have two actors play the same character. This arrangement ended up working out for both of us.

Who is the other actor you share the role with?

Teo Planell, a really cool guy. This isn’t your first time in a theater project; a few years ago, you participated in the Spanish adaptation of Rabbit Hole by David Lindsay-Abaire.

Yes, that was a long time ago. It was my first play and the only one I’ve done so far. It’s true that I trained at Cristina Rota’s school, and the training there was very theater-focused. Not exclusively, but the theater component in Cristina Rota’s training is very important. However, I’ve only done theater once in my life, and honestly, I was very nervous: excited, scared, nervous.

Can you tell me something about your character in La Otra Bestia?

It’s hard to describe because the whole play moves in a kind of code that’s somewhat detached from more earthly reality; I think it’s somewhere between a half-dreamy and half-poetic level. It has something very special that describing it would fall short, so it’s better to go see it. To give you an idea, it’s inspired by a movie used as a reference to develop the script and adapt the poetry book La Otra Bestia. They were inspired by Possession, a 1970s film by Andrzej Żuławski, which has a rather extreme tone.

Are you more of an Isabelle Adjani fan or Isabelle Huppert?

Huppert. I love The Pianist.

A classic. How do you remember your days in Rabbit Hole?

I really enjoyed it. David Serrano, the director, is someone I always say I’ve learned the most from because he knew a lot, had a great eye for actors, and was very intelligent. We had a great time, and the cast was amazing.

You played the role of Jason, right? That’s a very powerful role.

It was a very complex experience. It was an intermittent role in the play, which always makes you feel a bit dizzy because when you’re on stage, you warm up, and in some way, you enter the journey. But when you’re constantly going in and out of the stage, you have to stay focused all the time. Besides the dramatic and traumatic elements of the character, which were a challenge in themselves, there was also the difficulty of staying alert all the time, even when you weren’t on stage at certain moments, because you knew that at any moment you’d have to go on with all the energy.

Now that you're returning to the stage, how have you changed?

I imagine that age gives you experience, and you use that experience as an actor, plus it provides you with more background and more work experience. I also think it gives you greater awareness. The years since I was in theater, the projects I’ve been involved in, and life circumstances have made me more aware. It’s not that I didn’t have that awareness before, but I do think that now I have a deeper understanding of how lucky you are when you’re given an opportunity to work as an actor, and I have more respect for it.

It’s not that I didn’t respect it before, but now I see it in a different light. I have more respect when facing a character, when looking at the work, and more responsibility.

“I learned to be part of a whole... finding my place within such a big machine.”

Itzan Escamilla speaks with Juan Martí
for LE MILE .Digital

total look BALENCIAGA

Out of all the roles you’ve played, which one stands out to you?

I don’t know if it’s because of the roles I’ve gotten or because of who I am, but I always view myself with self-criticism. It’s like I never see myself in a positive light; I’m always very hard on myself. So, the role I choose isn’t because I think I’m good at it, but because, objectively, it seems to have the most potential, the one that can be “squeezed” the most, the one that has the most to explore and where you can get the most out of it. And that would be the one in Rabbit Hole.

It’s a fantastic role.

Yes, because I really liked the script. I’m drawn to those kinds of stories. It’s a script that’s very well balanced between comedy and drama, which is something I feel about one of my favorite movies, Manchester by the Sea. It’s one of many movies I love that talk about human clumsiness when something very dramatic happens, and how people react in a clumsy way, which generates humor, but uncomfortable humor. I feel like everything is treated in an opposite way to what you would normally expect, not in a melodramatic way. My character had a bit of that, and for me, as an actor, it was very interesting because it went against what you’d expect from such a big drama. So, from an acting perspective, it offered many opportunities to investigate and try new things.

Do you think young actors in Spain are given those kinds of opportunities?

I think it’s a bit of everything. There’s something undeniable and also natural, given the times, the budgets, and everything else: taking risks and betting on an actor’s profile that might not fit right away is complicated. The times are what they are, and the money at stake is what it is, so often, they choose to bet on what we already know will work. I think, on one hand, there’s a comfort zone when profiles are pigeonholed into specific roles within each project, but I also think there are directors who take a chance on something different. That’s where a more auteur-driven approach comes in, which always brings a breath of fresh air, an attempt to look beyond what we’ve already seen, giving a new face to what’s familiar.

I realize that talking to you, I see that you’re nothing like the characters you’ve portrayed or your personal concerns.

I don’t yet have the ability to choose the roles I take. I hope to have it someday, but right now, I don’t. So, I’m really proud of what I’ve done because, for starters, it’s work, and though this expression is overused, working is very important in a profession where there’s so much unemployment. So, I think there’s a natural arc; everyone has it in their own way, and you can’t generalize. I think mine is mine, and the others’ arcs are theirs. But at least in mine, there’s a natural progression where, first, you have to do what people see you can do, give it your all, do your best to start showing different sides of yourself, so that they begin to see you in other ways and start to shape a more multidimensional profile.

What did you learn during your Élite days?

Yes, I learned a lot. I learned mainly about what a shoot involves because, in the end, it was a role that required me to be on set or outdoors almost every week, Monday to Friday. So, I became very aware of what a shoot is, the complications that arise, the mistakes you can make, what you should and shouldn’t do. And I think, as an experience, what I take away the most is learning to be part of a whole. That is, having a more experienced perspective when understanding what’s going on around me on set, knowing where to go, where not to go, and finding my place within such a big machine.

What were you like as a teenager?

I don’t know, in many ways. I don’t really remember well, to be honest. As I got older, I was the class clown, the one who liked to joke around, I guess. I really liked being the class clown. I was a very curious, restless person. I really liked studying, I was pretty good at it, I didn’t fit the profile of a bad student, I was a good student. And I don’t know, I was someone who always had the need to explore hobbies or interests that I didn’t see around me. I always wanted to be part of something special, something different. I had this constant urge to not settle for what was closest, but to look for something out of the ordinary. So, I kept trying, trying everything. I did a lot of sports, skateboarding, martial arts... whatever it was. I kept trying until acting came into my path, and that’s when everything changed.

Do you remember your graduation trip?

I had a problem throughout my adolescence, which was that when I was 11, I had an epileptic seizure. Because of that, my neurologist strictly prohibited anything related to alcohol. I really liked surfing, and they even had to put a life jacket on me to do it. And that kind of carried over into my entire social life, as if I suddenly started receiving a lot of attention that I hadn’t had before.

My parents weren’t exactly neglectful, but they weren’t overprotective either. So, from that point on, everything changed a bit for me. At first, I lived with a lot of fear, and that feeling aligned with my parents’ caution. I was also a bit embarrassed because everything changed suddenly. But I think, after a while, I started doing whatever I wanted.

What’s the craziest thing you did with your friends?

I probably did more things, but the one that we always remember is when we set off a huge firecracker at the Palacio de Hielo shopping center. We thought it was going to make a little noise, but it went off like a bomb. At that time, there was still a risk of attacks. The alarm went off immediately, the police came, and they asked all my friends for descriptions of me. I ran and hid behind a bench, while police cars started to line up in the area. I don’t know if it was the paranoia of the moment, but they really were chasing me. That’s the story my friends and I still remember vividly.

coat JUNYA WATANABLE
socks + shoes MM6

“When you find a passion and decide to go for it, knowing you’re going to have to build your future on your own, it gives you confidence and the drive to commit.”

Itzan Escamilla speaks with Juan Martí
for LE MILE .Digital

How does one go from being a troublemaker to a committed actor?

Well, age and the fact that when you find a passion and you decide to go for it, without financial or family support behind you, and you know you’re going to have to build your future on your own, it gives you confidence and the drive to commit.

Do you think that, even as time passes, the desire to throw a firecracker in the middle of a shopping center goes away?

Yes, I got over it (laughs).

Has your twenties been more chill?

Not really, because I starred in Élite.

When did you realize the impact of Élite?

I was in Bogotá promoting Élite before it had been released, and when I came back, it had already premiered. So, I went out for a drink with a friend, like we are now, and suddenly people started staring at me and asking for photos. I remember the first few times they asked me for pictures, I got all red... I didn’t know how to react. And from that moment on, it didn’t stop.

You’ve explored teen drama, human drama... What would you like to explore now?

I really like comedy, and I’d love to do something with Paco Plaza, for example. Paco Plaza is known for his horror films. I really liked REC.

What’s the scariest movie you’ve seen so far?

Oh, I remember one starring Demi Moore that really scared me, I think it was called Half Light. But there’s one scene that has traumatized me the most of all—one that makes your heart skip a beat and leaves you pale for days. It’s a scene where she’s, I think, in the water near the shore, and suddenly the child appears, coming out of the water. I remember leaning back on the couch, feeling like I was having a micro heart attack at that moment. It traumatized me so much that for days, I couldn’t sleep, with the image of that child’s face coming out of the water stuck in my mind. I don’t know, it’s a horror movie that I remember with a lot of fear. The Exorcist is one I really like, but it also scares me a lot. It’s more the underlying aura of the film that gets to me than what you actually see, like the vomiting and those scenes. Although, I mean, with time, it has a bit of a B-movie feel to it, it becomes more gore, more “body horror,” and all that, which sometimes makes you watch it almost from a comic perspective.

Have you ever had a supernatural experience?

Yes, I was sitting on a bench with a friend of mine because we used to do graffiti. We were out on the streets late at night. We were sitting on a bench, and we hadn’t smoked any weed or anything, we were perfectly lucid. At some point, my friend was really into UFOs and always talked about them. There was kind of a relationship between his obsession with UFOs and me, who always made fun of him about it. I’d tease him a lot about it, I was quite atheistic in that sense. We were sitting on the bench, looking at the sky, philosophizing, talking. And at some point, next to the moon, I saw this orange ball. At first, I thought, “Well, it must be a star or a satellite,” but the ball started descending and getting bigger. I remember I was so impressed I couldn’t even speak, and it was a very brief moment. So I tapped my friend to look, and we both just stared, stunned. Suddenly, the glowing sphere shot up to the sky at full speed, leaving a small trail, and then it disappeared.

After that, my heart was racing. I ran, feeling this strange magnetic pull, and even though I’m not into auras or vibes stuff and all that, at that moment, I felt kind of hypnotized. I thought, “I need to get out of here.” I ran, and from that day on, I started sleeping a lot at my grandparents’ house, where I was raised. In my room at my grandparents’ house, I couldn’t sleep. I had that constant feeling of wondering, “What did I just see?” I started getting into all the alien abduction stories. I became interested in horror movies about it, like The Fourth Kind, the one with Milla Jovovich. And from that day on, every day, at a certain time, I think it was around 2 a.m., I would hear this huge engine sound, like it had a lot of power, right above my room. I’d hear the sound of an engine, and I didn’t dare to look, but when I did, I couldn’t see anything. However, every day at that same time, I’d hear that engine above, on the roof of my grandparents' house.

Do you believe in UFOs? Would you go to Montserrat to see if you saw a UFO?

I was in Tepoztlán, which is in Mexico. It's a magical town very related to UFO sightings and all that.

What was it like shooting Midnight Family in Mexico?

Really good, except that I caught three bacteria that destroyed my life for four months.

Maybe they were alien bacteria.

I thought maybe they had cast an evil eye on me (laughs). But seriously, working in Mexico and doing Midnight Family was cool, it was intense. What was happening outside of the shoot really blended with what was happening inside. So, when everything was going well, everything was awesome, but when it wasn’t, it became more difficult. But well, now, looking back, I have very good memories of it because I met people with a lot of talent in Mexico. I had the opportunity to be with them, work with them, see how they work, and honestly, they do it in a way that's quite similar to mine, or to what I had seen around me. An example: Mexico is a city that works a lot in chaos. There’s very little order, really. It’s very frantic, things are constantly happening, but without a clear order directing them. It’s as if everything is left to free will, and in the end, it will probably work out. So, they trust that it will work out and that the chaos is viable. It’s a city that works a bit like that, and I think that also influences how actors and actresses work, at least the ones I had by my side in this project. I always make sure to specify that it was a concrete experience, from one project, because it was probably more of a particular experience than a general one of how their modus operandi is.

Has this experience helped you to be more spontaneous?

I think you have to keep a spontaneous part, because otherwise, you become a Swiss clock, and I think that’s the antithesis of good work. Because in chaos, you always find brilliance or unforeseen things, and that’s where the gem of an interpretation is, when you’re not controlling everything, when there’s a moment of improvisation. But for me, I think I need to have control first, in order to break it from there. I’m speaking from little experience, but if I had to create a sketch of an acting method, it would be something like control, an analysis of the character and the text and then forgetting all about it. In other words, doing all that work beforehand and then forgetting it, so I’m not rusty or focused on any of it when the action happens, and I’m facing the moment. I would like to find a method similar to that.

team credits

seen RAÚL RUZ
styled JAVO GONZÁLEZ
production (off-set) JUAN MARTÍ
make up + hair AMPARO SÁNCHEZ
art direction URI SERRA
production assistant AVA

Charlie Rowe - Interview

.aesthetic talk
CHARLIE ROWE
*Quiet Rhythms, Unexpected Directions

written + interview Alban E. Smajli

Charlie Rowe is a study in understated charisma. At just 27, he’s amassed a body of work that spans two decades, quietly orbiting around some of Hollywood’s heaviest hitters while carving out a space that’s distinctly his own.

“It brings a palpable energy to the set,” he says of working alongside Noah Baumbach, George Clooney, and Adam Sandler. “There’s certainly an anticipation. But they are three lovely people who are fantastic at what they do. I just tried to observe and soak in as much as possible. I was tremendously lucky to be there.”

full look ALEXANDER McQUEEN

TEAM CREDITS

seen + art direction ANTONIO EUGENIO
styled IGNACIO DE TIEDRA
talent CHARLIE ROWE via PINNEACLE PR UK
grooming TERRI CAPON
photo assistant MITCHELL KEMP

“Argyle knits and sweaters. Scottish Highland, Folk-core style. But also perhaps a bag. I’m yet to find my perfect man bag. I’d like to co-create that. I’m sick of rucksacks.”

Charlie Rowe speaks with Alban E. Smajli
for LE MILE .Digital

full look JOSS ROWE

For Rowe, luck might play a part, but there’s also a certain rhythm—both to his choices and the roles that choose him. “A bit of both,” he admits when asked if he’s drawn to characters or if it’s all about timing. “I audition for parts that have a rhythm that interests me or at least the project, as a whole, has a rhythm that speaks to me. Whether I get them or not… now that is up to the universe aligning.”

It’s clear that this rhythm extends beyond film. Fashion weaves into his identity, not just as an actor, but as someone who’s grappled with—and grown from—some youthful experiments. “I had a hat phase at an oddly young age,” he says. “I was watching a lot of Mad Men and wearing fedoras and trilbys. I had a bald head at the time, so it was mainly to cover it, and it was not my greatest look.”

These days, Rowe’s relationship with fashion feels more intentional. “Argyle knits and sweaters. Scottish Highland, Folk-core style,” he says when asked about a potential fashion collaboration. “But also perhaps a bag. I’m yet to find my perfect man bag. I’d like to co-create that. I’m sick of rucksacks.”

On set, Rowe relishes the unexpected. “This is the job; searching for something unexpected,” he reflects. “Directors and good direction are essential as sometimes an actor can overcomplicate the search for something surprising. Most of my unexpected choices have come from simple notes and relaxation.”

full look DOLCE & GABBANA

full look FERRAGAMO

“I love improv. A good script never feels too restrictive. I actually like the repetition of film as you can keep finding more and more, if everyone is on board.”

Charlie Rowe speaks with Alban E. Smajli
for LE MILE .Digital

full look DOLCE & GABBANA

shirt + trousers ALEC BIZBY
shoes DOLCE & GABBANA

Even the structure of film, often seen as rigid, is something Rowe navigates with ease. “I love improv, though I’m not particularly well-versed in the craft of it. I would love to do more. But a good script never feels too restrictive. I actually like the repetition of film as you can keep finding more and more, if everyone is on board.”

As he steps further into the spotlight, Charlie Rowe’s evolution feels less like a meteoric rise and more like the steady heartbeat of someone who’s always known exactly where they’re headed—searching, always listening, and quietly redefining what it means to lead.

Caelian del’Mare - Interview

.aesthetic talk
CAELIAN DEL’MARE
*On Identity, Rebellion, & Finding Home

written + interview Alban E. Smajli

Caelian del’Mare is a force shaped by the vibrant chaos of Kreuzberg, the vivid energy of Istanbul, and the cinematic pull of Los Angeles.

Rooted in his Berlin upbringing, the actor moves through life with an authenticity that feels as raw as the streets he calls home. His work is an exploration of identity, movement, and resilience—layers formed through early experiences that continue to fuel his creativity.
In this exclusive conversation with LE MILE Digital, del’Mare shares how Kreuzberg’s diversity shaped his worldview, how Istanbul’s markets ignited his determination, and how the rhythm of dance connects to the emotional depths of his roles. Whether reflecting on the transformative power of a name or imagining a character yet to be played, del’Mare embodies the energy of someone constantly in motion, constantly evolving.

jersey CAYEMO

“Berlin, Kreuzberg! This is where I was born, where I grew up. These streets taught me life. It’s not just a place; it’s a part of me.”

Caelian del’Mare speaks with Alban E. Smajli
for LE MILE .Digital

pants HOLZWEILER
jacket + bag FASHION ARCHIVE
shoes CAMPER

Alban E. Smajli
Berlin, Istanbul, Los Angeles—where does Caelian del’Mare feel most at home, or are you constantly searching for something beyond places?

Caelian del’Mare
Berlin, Kreuzberg! This is where I was born, where I grew up. These streets taught me life. It’s not just a place; it’s a part of me. So much love, but also so many contradictions—it’s rough around the edges. Many say that if you’re born here, you never truly leave, no matter where you go, and that’s true. I could move elsewhere, but I want my big breakthrough to come without even realizing it’s happening. I want to show my people that I have what it takes to be the next movie star.

When you step into the skin of a character, how much of Caelian stays outside?

There’s always something of me in every role, maybe just a nuance. My early, often tough experiences sparked my creativity and gave me a unique perspective on characters. As an actor, I am confident and serious but also relaxed enough to approach any role flexibly. My expressions give my performances a certain intensity that often resonates well with people. It feels like I bring parts of myself into every role while transforming into the character.

From short film to feature film—is it just a change in runtime, or does each format demand something entirely different from you as an actor?

Each format has its own rhythm. In a short film, you have to portray the character quickly and precisely, almost like a poem that touches directly. A feature film, on the other hand, gives you more time to unfold the character step by step and take the audience on a deeper journey. For me, that means each format requires a different approach.

You’ve trained in street and urban dance—do you find that rhythm and movement unexpectedly guide you in intense scenes?

Absolutely. Dance gave me a kind of language for rhythm and body movement that goes beyond words. Sometimes, it’s not the dialogue but the movements that bring the moment to life. The rhythm of the body can build tension. This connection to movement often gives me access to the emotions of the character.

Your name, Caelian del’Mare, has an almost mythical quality. Does it influence how people in the industry perceive you or the roles you’re drawn to?

I’m completely at peace with my identity and real name, and I don’t deny it in any way. But my stage name, Caelian del’Mare, represents a creative extension of myself. It allows me to show a different side of me and create something that stands apart from my everyday life. The name was born from my desire for change and hope for something new – it symbolizes a fresh start. It’s entirely possible that I’m perceived differently because of the stage name, as it establishes a distinct creative identity. Still, it remains a part of me, and it’s not about hiding or completely changing who I am but about presenting my art from a new perspective.

What is your creative rebellion? Is there a rule in filmmaking you’d like to break but haven’t had the chance to yet?

There are no rules. I’ve seen a lot in life, more than one might guess from the outside. There were times when I felt lost, unsure of who I truly was or where I belonged. Acting gives me the chance to step into roles that are far removed from the life I was born into. It’s as if I’m living out all the dreams I could never fulfill. I’m not just playing a character – I’m living everything I might never have experienced. Every role I play is a piece of me that I find and lose. It’s a journey that changes me more than I ever thought it would.

total look GCDS

“There’s always something of me in every role, maybe just a nuance. It feels like I bring parts of myself into every role while transforming into the character.”

Caelian del’Mare speaks with Alban E. Smajli
for LE MILE .Digital

Was there ever a costume or look for a character on set that felt so close to your personal style you wanted to take it home?

Yes, absolutely! Once, I played a character who wore a worn leather jacket and black boots—it reminded me of Marlon Brando, a simple yet authentic look. The jacket felt like it had a story, and it just clicked with me. At the end of the shoot, the costume designer practically had to wrestle it out of my hands.

When you play someone complex, like Umut in Tek Yol, do you lose parts of yourself in the process?

With Umut, I played a very complex character, defined by intense emotions and contradictions. He is aggressive, doesn’t take anything lying down, and is full of energy, but at the same time, he is also emotional and a true charmer – the 36 Boys were my inspiration. From the very first moment, I had a vivid mental picture and genuine thoughts about him.

These thoughts allowed me to experience the character with all his depth and pain. My name comes from a boy who wanted change – that boy was me, Merdan Karatas. I created a new identity to achieve what no one believed in.

Is there a story or character the world hasn’t seen yet that you’re eager to bring to life?

I’d love to play a character struggling with their inner self, someone who sees the world differently and is often misunderstood. Someone who lives for themselves despite all the obstacles in their way. I’m fascinated by how such people think and feel, and I’d love to portray that role as vividly as possible.

What’s next—are there any projects, collaborations, or creative directions you’re looking to explore?

There’s no official new film project at the moment, but plenty of exciting opportunities are on the horizon. A few open castings and collaborations are being discussed, and I’m excited to see where it all leads.

jersey CAYEMO

shirt ASKET

production credits

talent CAELIAN DEL´MARE
seen JULIAN MELZER
styled KLAAS HAMMER
photo assistant IMKE HOYNDORF
production LIAM MONOT
post production lemilestudios

“My name comes from a boy who wanted change – that boy was me, Merdan Karatas. I created a new identity to achieve what no one believed in.”

Caelian del’Mare speaks with Alban E. Smajli
for LE MILE .Digital

Jorge López - Interview

.aesthetic talk
JÓRGE LÓPEZ
Hot Pursuit

interview Juan Marti

Madrid’s heat blazes like an open flame, pushing the city to its edge, and in the midst of it, Jórge López appears like a shot of cool relief. Known worldwide as one of Chile’s most electric talents, he’s captivated screens with an intensity that refuses to fade.

Jórge López defies the usual trajectory, choosing a path of substance over spectacle. In an exclusive interview and photoshoot with LE MILE Magazine, he reveals a moment of genuine connection—focused on new roles, personal pursuits, and a vision that’s both dynamic and unapologetically his own.

total look Dsquared2

total look LOEWE

“I know it's going to surprise you, now it's my turn to play the villain, an ambiguous man, with intentions that are difficult to understand.”

Jórge López with Juan Marti
first published: LE MILE Magazine, AGE OF CHANGE Nr. 37 Edition, Fall/Winter 2024

team credits

seen ANDREW JIM
styled SERGI PADIAL
producer JUAN MARTÍ
grooming SERGIO ÁLVAREZ
retoucher ISMAEL VILLAR
talent JORGE LOPEZ
production assistant VINI DORE
fashion assistant ANDREA ESTIRADO
artist (painted backdrops) LUCHO CAMPOS

total look DSQUARED2

total look DOLCE & GABANNA

Juan Marti
What have you been up to these days?

Jórge López
I confess that I don't stop; I haven’t had time to be still since the summer started. I just got back from Mexico a few days ago after finishing a project. Now I’m in Madrid, dying from the heat.

Speaking of the film and your roles, which character have you been focusing on?

I know it’s going to surprise you—it’s my turn to play the villain, an ambiguous man with intentions that are difficult to understand. But it’s been a real gift because I returned to Disney with Tini, the Argentine star. We both return to that place that saw us grow, which has now become a platform for all kinds of audiences and produces a wide range of content. Our project is a real thriller that explores identity and how our environment influences us as we develop as people and individuals, as well as the situations we can get caught up in when we’re unclear about who we are or when we become someone we don’t want to be.

Where do you want to focus right now?

I’m giving myself a period of self-care. I’m trying to break away from the conventional idea of success and the endless work spiral. I love working, and I want to keep working, but I also want to live. I want my life project to be my main focus. In Chile, I’m remodeling my house, and here I just finished renovating my apartment. I want to accomplish personal goals, even jotting down ideas as they come to me. I’m also considering a trip to Angola.

What do you have coming up?

An adventure that, for now, has no end and that I plan to enjoy. I really want to explore that part of Africa and learn its dances, to connect with my body and my side as a dancer. I want to nurture myself, to travel alone. I love traveling solo; it’s an experience that forces you to be self-sufficient and resilient.

total look LOEWE

total look DIOR MEN

“I'm trying to get away from the conventional concept of success that surrounds us and the endless spiral of work.”

Jórge López with Juan Marti
first published: LE MILE Magazine, AGE OF CHANGE Nr. 37 Edition, Fall/Winter 2024

Omar Rudberg - Interview

.aesthetic talk
OMAR RUDBERG
Northern Star

written + interview Juan Marti

Passion can be a dangerous feeling in the heart of the wrong person. Such an emotion makes us do crazy things but also great deeds.

That has been the case with young singer and actor Omar Rudberg: The Swedish-Venezuelan singer and actor was born with the most radiant passion running through his veins and from minute one it was clear to him.

His desire to express himself through music dominated his world and in early childhood he started working hard on his musical technique. Making the audience dance, feel and enjoy with his voice was his light bulb in an adolescence where we all wondered who we wanted to be and where we wanted to go. Omar's talent eliminated any kind of doubt and from the beginning of his solo career, through the years as a member of the boy band FO&O, Omar has shined with his own light. Becoming one of the most recognized voices and faces in Sweden thanks to starring in the Netflix hit show Young Royals, Omar lives an artistic moment of maturity and reinvention, where he feels free and powerful to unleash his most honest passions. A well-deserved feat, then, for a promising star.

total look VERSACE
necklace SWAROVSKI

“You gotta take risks and throw yourself out there, because if you don’t, you’ll never find out what could’ve happened if you did.”

Omar Rudberg with Juan Marti
first published: LE MILE Magazine, AGE OF CHANGE Nr. 37 Edition, Fall/Winter 2024

team credits

seen NICOLA PAGANO
creative fashion director CHIDOZIE OBASI
fashion editor DENNIS CAPPABIANCA
head of production JESSICA LOVATO
contributing editor LEONARDO MARTINO
talent OMAR RUDBERG via NEXT MANAGEMENT

make up MATTIA ANDREOLI
hair DOMENICO PAPA
video editor ALEXANDRE JOUX
set designer ALESSIA SORESSI

fashion coordinator LEONARDO VANTAGGI
fashion assistants LAURA GIROLAMI, JULIA ANTONIN, NICOLÒ PIOMBINO, IRENE MOTTO-ROS
production assistant ANJA MENEGON

LE MILE Magazine’s 37th issue, AGE OF CHANGE, is sold out in print but still available as a Digital Download.

total look DSQUARED2

cardigan ALEXANDER MCQUEEN
trousers LEONARDO VALENTINI
boots DSQUARED2

Juan Marti
Omar, it is a pleasure to talk to you. I would like to start talking about changes. This year has been very important for you and I would like to know how you face the new chapters in your life. What feelings do moments of change awaken in you?

Omar Rudberg
This year is one of the most exciting and important years of my career. I really get to release my new music for the international market and it’s very exciting. I don’t know what’s going to happen next—that’s what I love about what I do, even though it’s sometimes scary.

Do you consider yourself someone who is not afraid of risks or are you a more cautious person who prefers to think twice?

That really depends on my mood. Sometimes I wake up and I’ll think multiple times to do things right, and sometimes I don’t. I’ve learned from taking risks and I’ve gained from them. I would never be where I am today if I hadn’t taken the risks I’ve taken in my life.

When it comes to making an important decision, do you prefer to go it alone or do you like to seek advice from someone you trust?

I definitely seek advice from my real ones. I trust the ones that are close to me, and I know they’ll always tell me their honest opinions. Seeking advice is never a bad thing. And sometimes it can even change the way you see things and suddenly, everything is so much more clear.

Musically, 2024 has meant your expansion as a singer to a much wider audience. Have you felt pressure or nerves when facing this new challenge?

I think that I’m my worst enemy when it comes to pressure. I put a lot of pressure on myself sometimes and that has been something that I’ve had to work on.

I like that one of the first singles of this new stage is Bye Bye. It is clear that you are saying goodbye to a stage, but beyond that, what other things are you saying goodbye to with that song?

Actually, the first single of this new era was Red Light. But yeah, I’m basically saying Bye Bye to bad habits, bad relations and bad energy. I feel free and I’m doing what I love and what I want to do and nothing or no one will stop me!

coat JIL SANDER by Lucie and Luke Meier
trousers THE FRANKIE SHOP

watch making of film

“I would never be where I am today if I hadn’t taken the risks I’ve taken in my life.”

Omar Rudberg with Juan Marti
first published: LE MILE Magazine, AGE OF CHANGE Nr. 37 Edition, Fall/Winter 2024

total look DIESEL

shirt THE FRANKIE SHOP
skirts MOSCHINO
earrings LAG WORLD
necklace SWAROVSKI

also read
.aesthetic talk Nemo *Fame, Freedom, and the Art of Doing Nothing

Last February was your first solo concert. You did it in Stockholm in front of thousands and thousands of people. How did you experience that concert? Do you have any special memories?

That day was one of the most amazing days of my life. I felt so much joy, love and energy. I still can’t believe to this day that it all happened. I’m so thankful for every single human being that came to the show. It was an honor to be able to give them a bomb ass show!

Sweden is the country where you grew up but you were born in Venezuela, how do you keep your roots alive with this beautiful country?

My roots are just in me. I’ve always seen myself as a Venezolano. My mom and my family are number one to me. I eat Venezuelan/Latin American food everyday, listen to the music everyday, and I speak my Venezuelan Spanish everyday. I can’t wait to go back and visit my home country. Venezuela Libre. ¡Hasta el final!

As a big fan of crime novels that I am and you being from Stockholm I would like to ask you if you are also a fan of that genre that is so acclaimed in Sweden, any recommendations?

If you like crime tv shows, then I’d see Snabba Cash on Netflix. It’s not a novel but it’s a really good Swedish show.

I have to congratulate you because I really liked your debut in Karusell, I'm a big slasher fan. How did you prepare for the role, are you a fan of horror movies?

Thank you! I do like horror movies. For me it’s a fun experience watching a horror movie with friends or family. Since Karusell only was my second project to film, it was important for me to feel like I was playing a new character far from Simon in Young Royals. Dante is pretty much the opposite of what Simon was so it was kind of easy for me to find who Dante was.

Karusell confronts its protagonists with the pending accounts of what happened in their adolescence, what were you like when you were in high school?

I never went to high school. I was busy touring Scandinavia and the US with my band at the time. In school I was a loud and crazy kid with my friends. But I was also very shy and insecure at times.

This year the Netflix series you starred in, Young Royals, one of their biggest hits came to an end. What lessons have you been able to learn from that incredible experience?

You gotta take risks and throw yourself out there, because if you don’t, you’ll never find out what could’ve happened if you did. I’m glad I did—even if it meant skipping mathematics in high school.

I'm sure the years you spent filming Young Royals were incredible, can you tell me about any moments you hold dear to your heart?

The whole casting process to me is something I’ll always remember. It was a very weird and special time in my life before the casting started. But when Young Royals came into my life it changed me.

I would like to end the interview talking about new beginnings, what can we expect from the new…

You can expect a lot of great new music and live shows!! Because I’m releasing new music very soon and I’m going on tour! Also, 2025 is going to be NEXT level.

“I don’t know what’s going to happen next—that’s what I love about what I do, even though it’s sometimes scary.”

Omar Rudberg with Juan Marti
first published: LE MILE Magazine, AGE OF CHANGE Nr. 37 Edition, Fall/Winter 2024

NEMO - Interview

.aesthetic talk
Nemo
Fame, Freedom, and the Art of Doing Nothing

written + interview Alban E. Smajli

Nemo’s world is a delicate line—fame on one side, fierce privacy on the other. Talking with LE MILE, Nemo is clear: silence is as essential as sound.

Fresh off the Eurovision win, Nemo is headed somewhere quieter, carving space for nothingness in Aix-en-Provence, where everything else can fall away. Nemo creates music as a universe—crafting worlds, experimenting with genre, and aligning their art with their wardrobe, where every stitch resonates with sound. Privacy, once blurred in the rush of recognition, is now an obsession.
In the spaces between spotlight and solitude, Nemo finds the balance—where the loud meets the quiet, where raw edges mix with crafted lines. Their art? Pure and boundless, spilling over into fashion, music, and a life that answers only to their own rhythm.

shirt MCM
pants NAMILIA
jewelry PANDORA

“I think I'm learning to do nothing in my downtime. I’m going to Aix-en-Provence in France, and my plan is to do absolutely nothing. If this works out, then I would say that what gets stripped away when the lights fade is, ideally, everything.”

Nemo speaks with Alban E. Smajli
for LE MILE .Digital

dress  RITUAL UNIONS

total look TOEBROCK
sunglasses MCM

Alban E. Smajli
How do you balance the rawness of your personal life with the glossy, sometimes artificial world of fame? What gets stripped away when the lights fade?

Nemo
I think I'm learning to do nothing in my downtime. I worked through my first vacation after, like, five months of working full-time every day. I’m going to Aix-en-Provence in France, and my plan is to do absolutely nothing. If this works out, then I would say that what gets stripped away when the lights fade is, ideally, everything. I work in cycles of full awareness, being fully present when working and giving it my all, then having days where I do nothing at all. I think that's a balance. I mean, I crave to create.

Your style is a statement on its own. How do fashion and your art collide? Is your wardrobe a mirror or a mask for the world to interpret?

I think my wardrobe aims to reflect my music in the best possible way. So, in that sense, it’s a mirror of my music, my art. It’s either a mirror or an extension of it, sometimes both. That’s what I strive for, from stage to street.

Where does your artistic identity end and your private self begin? Or is the concept of privacy already extinct in your universe?

No, privacy is really important to me. I’m realizing this as I become more exposed, both as a person and as a public figure. Through this, I’ve come to see how essential privacy is. I didn’t understand this at the start, as my public and private lives were intertwined—everyone in my public life was also part of my private life. But as I became more recognized, especially to the degree that happened this year, I began craving privacy, moments for myself and with friends, away from the public eye. I value being with people who don’t overanalyze or categorize everything I do. So yes, privacy has become very important to me.

Does the music industry’s obsession with genre labels suffocate creativity? How do you intend to break those constraints with your next moves?

I always aim to create something fresh, something that opens a door not many have stepped through—or maybe even one no one has. In a world where almost every sound has been explored, new genres rarely arise, so mixing elements—genres, moods, contrasts—is how something entirely new can emerge. The more daring you are with mixing, the more likely you are to hit those moments. That’s my goal in music, and I think it's there in many of the new songs I’m working on. This explosion of constraints. I might put that in my bio: 'I’m an exploder of constraints.'

team credits

talent NEMO
seen JULIAN MELZER
styled KLAAS HAMMER
hair + make up LEO STERN
photo assistant YEONGHYEON KANG
fashion assistant KATHARINA PITTACK
production LIAM MONOT

post production lemilestudios

“Privacy is really important to me. I’m realizing this as I become more exposed, both as a person and as a public figure. [...] I value being with people who don’t overanalyze or categorize everything I do.”

Nemo speaks with Alban E. Smajli
for LE MILE .Digital

total look PINKRAININTHEBRAIN

also read
.aesthetic talk JOEL SÁNCHEZ *Breaking New Ground

Are you craving a deeper integration between music and the fashion world in your future?

Definitely. I’ve been working closely with many designers recently and learning so much about fashion, especially in the UK. I’ve met some wonderful people, and I feel the urge to expand my vision through fashion. It’s a powerful way to express myself, alongside music, singing, and writing. Integrating fashion more closely feels essential. The experience over the last few months has been eye-opening, and I look forward to more collaborations, launching my own line, and possibly participating in Fashion Weeks. These are things I’d truly enjoy.

Your lyrics seem to hold the weight of entire worlds. What's the one theme you keep circling back to, even when you try to escape it?

A general theme in my music has been freedom—finding freedom in yourself and defining it personally. That’s at the core, and even when it’s not directly in the lyrics, it’s in the sounds I choose, the worlds I create, and the feel of my music. So, I’d say that’s the recurring theme.

The Eurovision crown is still yours. What’s next? What keeps you awake at night now that you’ve tasted this level of success?

I’ve learned a lot over the past half year. The main thing is that I love creating without limits and collaborating with musicians I admire. Recently, I’ve been working with people I hadn’t had the chance to work with before, and it’s opened a new world for me, pushing me beyond my comfort zone. That’s a feeling I love. My aim is to make music, release albums, play concerts for the rest of my life, and create work that deeply resonates with me and challenges the conventional views of music and art, as well as myself. Those are my goals.

jacket + pants NAMILIA
shirt MCM
sunglasses KRISZTIAN P

“The experience over the last few months has been eye-opening, and I look forward to more collaborations, launching my own line, and possibly participating in Fashion Weeks. These are things I’d truly enjoy.”

Nemo speaks with Alban E. Smajli
for LE MILE .Digital

Joel Sánchez - Interview

.aesthetic talk
JOEL SÁNCHEZ
Breaking New Ground

written Juan Marti

Sometimes it's all down to fate. It happens when the stars conspire like the witches of Mcbeth and without expecting it, someone appears who makes a great impact, a person with something special.

LE MILE Magazine, AGE OF CHANGE Nr. 37
Fall/Winter 2024-25

JOEL SANCHEZ wears
total look JIL SANDER by Lucie and Luke Meier

watch film

“It allows you to live a thousand lives and makes your own life more complete because it makes you look into your psychology and above all into people's.”

Joel Sanchez speaks with Juan Marti
first published: LE MILE Magazine - AGE OF CHANGE, Issue Nr. 37

That thing is difficult to explain but it's what makes you can't take your eyes off them, that makes you interested in the way they dress, the way they talk, even the way they smoke. Joel Sánchez is one such example: he has that thing that dazzles before the cameras and he has been able to prove it with only one TV series behind him.

His character in the successful spin off of Money Heast, Berlin, made millions of people fall in love with him all over the world thanks to his mischievousness, attractiveness and comedy. Critics and audiences have deemed him as the show's "breakout star", and for good reason. The entertainment and fashion industries have surrendered to Joel as he deals with maturity and professionalism the wave of fame that has burst into his life. But the actor, with a splendid future ahead of him, maintains his relaxed attitude and tries to savor every second of the magnificent gift that life has given him: making his dream come true.

total look ALEXANDER MCQUEEN

vest PAUL SMITH
pleated trousers SETCHU
trousers CHB CHRISTIAN BOARO
shoes SEBAGO
earrings VOODOO JEWELS

Juan Marti
Joel, time goes by so fast! It's been almost six months since the premiere of Berlin, the spin-off of Money Heist, which was a huge success. Looking back, what do you feel when you think about the months in which the series came out?

Joel Sánchez
Well, I feel very happy because it was something new for me, and to be able to see how people embrace the project and your character is something very nice and something I had never experienced before.

Berlin was also your first job as an actor, a profession that has always been your great passion. Do you believe that dreams come true?

It is a profession that always generated a lot of curiosity in me, but honestly until I did not work in it I did not realize what a beautiful job it is, it allows you to live a thousand lives and makes your own life more complete because it makes you look into your psychology and above all into people's. I feel very lucky to have found this beautiful profession. I feel very lucky to have found this beautiful way of making a living.

In less than a year your life has changed completely. I'm sure there are times when big changes can be overwhelming. Have you ever felt overwhelmed by everything that has happened?

The truth is that no, as I said before it has been a very nice process, I really enjoy the messages I read and things like that. Obviously there will be moments and moments as with all things, but at the moment I am savoring it.

Is it easy to keep your feet on the ground when success comes so unexpectedly?

For me that lies in the education and values that each one has.

During this year, what is the most important lesson you have learned?

The most important lesson for me that I have learned is that you have to be "calm" when things go well and when things go wrong, because everything is over, everything is temporary.

trousers VERSACE
necklace SWAROVSKI

team credits

seen NICOLA PAGANO
creative fashion director and stylist CHIDOZIE OBASI
head of production JESSICA LOVATO
contributing editor LEONARDO MARTINO
talent JOEL SANCHEZ via NEXT Management @nextmilan

makeup MATTIA ANDREOLI
hair stylist DOMENICO PAPA
video editor ALEXANDRE JOUX
set designer ALESSIA SORESSI
fashion coordinator assistant LEONARDO VANTAGGI

fashion assistants LAURA GIROLAMI, JULIA ANTONIN, NICOLÒ PIOMBINO, IRENE MOTTO-ROS
production assistant ANJA MENEGON

“You have to be 'calm' when things go well and when things go wrong, because everything is over, everything is temporary.”

Joel Sanchez speaks with Juan Marti
first published: LE MILE Magazine - AGE OF CHANGE, Issue Nr. 37

shirt DURAZZI
pull FERRAGAMO
shorts THE FRANKIE SHOP
trousers ZEGNA
tie CARLO PIGNATELLI

shirt DSQUARED2
blazer OCTOBRE EDITION
jeans LOIS JEANS
shoes SEBAGO

micro-striped shirt BALLANTYNE
maxi collar shirt SANDRO
orange shirt FENDI
pants DIESEL
shoes PAUL SMITH

You will soon premiere La Favorita 1922, a big production about a restaurant in Madrid in the 1920's. What exactly interested you in this project?

Well, I was interested because it is my second project and I want to work and work and work, but above all I was curious to be able to play a period character, the clothes, the way of seeing and enjoying the life of that era.

You now live in Madrid but I know you are very attached to your homeland, the Canary Islands. What do you do when you feel homesick?

I start watching videos that I have in my favorites of moments with my family and friends in Lanzarote and I get over the nonsense (laughs).

Starting your life in a big city is always hard and you live moments that you never forget. How do you remember your first years in Madrid?

My mother is from Madrid so for me the change was not so radical, besides that I consider myself a very open person and always eager to meet new people so the adaptation was quite easy.

Now that you have immersed yourself in a project set in the last century, I would like to talk about nostalgia. Are you a person who usually remembers the past?

I tend to remember the past as long as it does not affect the future I want to project. It is true that for this work you have to resort to past things to empathize with things of your character etc. But I always try to do it in a healthy way and not to stir up old traumas.

What advice would you give Joel from ten years ago, and how would he feel if he saw all that you are achieving?

To enjoy life because 80% of the problems happen only in our head. That it is good to worry about the future but not to live in it.

I am happy because it has not been an easy road, at the end you make a decision without knowing the consequences and once you have seen them and see that it was worth it, it is a very nice sensation.

also read
Gregory Crewdson at Espace Louis Vuitton *Dreamscapes of a Haunted America

coat OUR LEGACY
shirt LEVI’S
skirt DURAZZI MILANO
trousers DOLCE & GABBANA

polo CALVIN KLEIN JEANS
shirt Plissè ISSEY MIYAKE
jeans THE ATTICO

If you could choose a past era to live in, what would it be?

I would say the 70's or 80's, in those years for me life was more real, without social networks, without anything that could distract you from being here and now.

How did you feel when you first entered the beautifully constructed sets of La Favorita 1922?

As if coming out of a time machine, the truth is that the sets are a real blast.

Your character is a waiter trying to find a better life, in what way did you connect with your character? Do you always seek to identify in a certain way with the characters you have played so far?

In a way, I also worked as a waiter and other things to pay my college tuition, so I empathize with my character, I think you always have to look for something of yourself in the character to empathize with his life, but I also think that throughout your career as an actor you will get characters that make you learn and delve into areas that you had never considered within yourself and that's nice.

blazer TOM FORD
trousers LOUIS VUITTON

“At the moment, I am savoring it.”

Joel Sanchez speaks with Juan Marti
first published: LE MILE Magazine - AGE OF CHANGE, Issue Nr. 37

Fernando Lindez - Interview

.aesthetic talk
Fernando Lindez
Coming of Age

written Chidozie Obasi

Fernando Lindez is a bona fide heartthrob: He’s the kind of person who doesn’t wake up in a bad mood, and when he picks up the Zoom call to speak to me, he’s already in good spirits, laughing charismatically between sips of water.

Throughout our conversation, Lindez strikes as someone who is both insightful and honest, whether we’re discussing his wildest dreams - having been an aficionado of the movie industry for years, he believes in the power of community culture as a weapon of growth - or the challenges of being in the public eye from a young age. “I honestly never liked being in front of a camera and actually hated it!” He exclaims, cheerfully, radiating emotion as you’d expect from a man whose career basks in the limelight from iconic appearances in the world’s leading runways to iconic series such as Elite. He isn’t all sunshine and light though: Lindez revealed some of his most challenging experiences, but it was his own insecurities that helped him find common ground in life and in the characters he played. Wielding a coming of age cast, including the likes of Mirela Balic, Ivan Mendes and Nadia Al Saidi, his role in Elite has been making serious waves. From his initial career dabs, and living up to popular expectations, to mental health – we dug deep.

FERNANDO LINDEZ wearing
total look VERSACE

LE MILE Magazine
TRANCE Issue, No. 36 Cover Fernando Lindez
wearing MOSCHINO

“I honestly never liked being in front of a camera and actually hated it! But now that I've seen all the videos or the episodes, it's funny to remember everything that I did in that project.”

Fernando Lindez speaks with Chidozie Obasi
LE MILE Magazine TRANCE, Nr. 36

Chidozie Obasi
With everything that has happened over the years, have these times of uncertainty affected your identity in a way?
Fernando Lindez
I think this period was a great one for me, particularly because I had the chance to be involved in projects where I learned a lot from my partners, from the directors I met and the people I had the chance to work with. I think it affected me in a positive way and made me grow as a professional, particularly as an actor. Obviously the pandemic crisis badly affected the film industry and the fashion sector too, but I feel like it's slowly getting better.

How did you get into fashion?
It was all pure casualty! I honestly never liked being in front of a camera and I actually hated it. But it all started around 2016 or 2017, with no social media. I remember a friend of mine posted a photo with me on Instagram and an agent from Uno Models here in Spain saw that picture, and then he reached out to my friend.

What was your wildest dream as a kid?
When you're a kid, it's difficult to have only one: I wanted to be a lot of things. I wanted to travel all over the world to record and talk about nature. And of course, the thing about acting was surely more in my mind than modeling when I was younger. I really liked movies, and became passionate about the film industry from early on. So I always thought about becoming a great actor.

Would you say that your Spanish upbringing has influenced you in your career in a way?
No, I don't think so. I move by my personality, what I learn from the people I’ve met, from the things I experience in life and work.
Obviously, I know where I come from and I really appreciate my culture: It’s one of the best in the world for me. But I'm always open to listening to other cultures, to learn from other people and I don't think I'm attached to just being Spanish I always like to grasp aspects from other realities: I think it's good to open your mind in that way.

total look VALENTINO

top CELINE

team credits
seen PAOLO BARRETTA
fashion director CHIDOZIE OBASI
style editor DENNIS CAPPABIANCA
grooming ANNA PELLEGRINI
light assistant LORENZO OGLIALORO

“I think that when you are in a bad position and when you are feeling bad, you just have to say it. And you have to know when to stop.”

Fernando Lindez speaks with Chidozie Obasi
LE MILE Magazine TRANCE, Nr. 36

blazer + tie MOSCHINO
trousers VALENTINO

Starting from fashion, you've also transitioned into the film industry with various roles. So how did it all begin?
So it all started at the same time, both modeling and acting. I remember when I started in fashion, they also called me for an audition for a TV Show. I didn't even have a lot of experience into the acting industry. But now that I've seen all the videos or the episodes, it's funny to remember everything that I did in that project, which was my first one. And I only have happy memories about it. After that, I discovered I could act and I was able to do it. I wanted to learn more, so I got into acting in schools to learn more about this practice, and I'm still doing it. I think it's a profession where one is always learning.

And then what would you say that was your hardest role to ever take as an actor?
I think on Escándalo, which is a Spanish TV show. For me, it was very hard because it was my first big project as a main character. It was also a character who experienced a lot of difficulties during the story and with a really big internal problem. He had a lot of traumas from the past, so for me it was difficult to find the way this character was living with how he reacted to all the people he was having relations with during the show. It was my first time doing sex scenes too, a very hard pick for me. But, you know, it was great because I had the chance to work with Alexandra Jimenez, who is a really good actress here in Spain: she was very professional, a really good partner.

And then in terms of the outside pool of people, have you ever felt pressured to be anyone else that maybe you were not feeling quite close to in the film industry or in any roles that you took on as an actor?
Not yet, but I think as an actor, if I take a role or a character it's because I really want to do it and because I feel like I can be that person.

For example, in Elite, at the beginning, I was a bit afraid because I was playing a homosexual character. I’m not, so I wanted to hide that. However, I didn't want people to see a heterosexual guy playing as a gay actor, but I had Omar, which is a very close friend of mine, who was always supporting me and telling me how to move, how to speak, how to react to things in a way that I don't usually do. And that also helped me a lot. But it was something that was extremely interesting to me. Of course, I put some things from my own, from Fernando to Joel (the character in Elite), but it's a mix of everything that pushed me further to grow.

Would you ever consider going into production or directing?
I mean, right now, I would say no. Because I'm focusing on my acting career and I feel like I have so many things to learn, so many things to improve. I like the job as a director more than a producer. But I will see in the future. For the moment, what I want to put my focus on is acting.

How do you feel projects like Elite have developed you as an actor or just as a creative in general?
It's been almost one year and a half of filming: we filmed two seasons, and especially in the last one, my character had a lot of weight. For me, it was more difficult than the one we filmed before. And now that it’s been produced, I can say it was a big challenge for me because I did things that I never did before. I learned a lot from that and from my partners. It was a really, really good experience for me, which I’m grateful for.

What would you say is the biggest thing that you've learned from this experience?
Compañerismo! Being together. We were a big group of actors and actresses. So yeah, I would say working on a team. The power of collaboration and of being together, and also crafting a good relationship with your partner for me, it was the most important thing because we were always helping each other. And as an actor, I think it's very important to be always open to help others. Because if you help others, they will help you.

total look HERMES

And what were the most difficult and challenging ones that you navigated when you were both in fashion and also now as an actor?
I had those complex moments. Especially, I remember, after the pandemic: a period where I really struggled with nutrition. I wasn’t in a good position, mentally. So I had to take a break to focus on myself, on my body, and on my mental health. I think that when you are in a bad position and when you are feeling bad, you just have to say it. And you have to know when to stop. You have to know your limits, and it's important to know yourself and to know where those limits are. Nowadays, I like to take care of my mental health: I go to therapy here in Madrid, teamed with sports. Together, these habits help to maintain a good mental and emotional balance.

Would you ever consider going into production or directing?
I mean, right now, I would say no. Because I'm focusing on my acting career and I feel like I have so many things to learn, so many things to improve. I like the job as a director more than a producer. But I will see in the future. For the moment, what I want to put my focus on is acting.

And in terms of social media and your image, you've become a mega star since Elite. How do you cope with the public, and how does bad and good criticism affect your mental health?
I always try to put limits on my social media, as I only have Instagram.
But, I'm also someone who doesn't like to show a lot of my intimate persona on those platforms. I feel a bit afraid, I have to be honest, of showing my life and talking to people on there. Because of the the public opinion which can demonise or categorize you in a bad way.

What is next for you?
I want to move to New York for a couple of months, I will see! don't know when I will move to that place, and I don't know when I want to leave. But yeah, I want to go there and, you know, continue modeling there in the States as well and grow as an actor and as a person.

follow artist @fernando_lindez
via Why Not Models