Annabel Scholey on Winter and Rivals

An interview with Annabel Scholey

Why Lauren Bell puzzled Annabel Scholey

interview + written MONICA DE LUNA

Annabel Scholey asked to repeat a couple of takes on Winter after watching herself back and questioning what she was doing with her body. Playing DI Lauren Bell meant looking as though she knew how to raid a house, right down to what she did with her arms. She has already smashed a car window for the role and would happily take on more stunts.

Annabel wears a total look by BELLA FREUD

In the ITV drama, Lauren works alongside Richard Armitage’s forensic pathologist Ethan Winter while grieving a father she idolised. Scholey imagined the child who followed him everywhere, then the police officer still trying to make him proud. Much of their relationship remains unwritten, so she supplied a history herself. The difficulty was letting the audience recognise Lauren’s hurt in a woman who would rarely volunteer it. Nina Defoe, the divorce lawyer she played in The Split, had been much easier to read. As Scholey puts it, Nina “vomited up emotion everywhere”. Beattie Johnson, her journalist in Disney+’s Rivals, gives her another kind of licence. Even Tony Baddingham can be shocked by Beattie, and Scholey suspects she is capable of going further still.

At twenty-one, Scholey had absorbed the warning that an actress needed to make it by thirty. Her more interesting work began arriving when she reached that age. She wishes she had questioned some other advice, particularly letting her Yorkshire accent go while learning RP. People sometimes fail to place where she is from, and she is still waiting for Yorkshire to claim her.

Annabel wears a silk top by VIOLANTE NESSI

Monica de Luna
How quickly did you understand Lauren Bell in Winter?

Annabel Scholey
This was a character that perplexed me the first time I read the scripts because she isn’t outwardly emotional. She’s very closed and can be perceived as quite cold. It took me a while to work out how to play her with some warmth and find her hidden depths. She communicates differently to the characters I’ve played before. Usually I play characters who wear their heart on their sleeve and explode emotion everywhere, but actually she was the first character I’ve played who’s very reserved and holds everything close to her chest. Now and again there’s a crack and you see that she’s not okay and she is off-centre, but she is very mysterious. But I did enjoy finding those tiny cracks and it was one of the main reasons I wanted to play the role.

Do you think Lauren is still trying to make her father proud?

Absolutely, I think it’s at the heart of everything. It’s the reason she became a police officer. She’s been in his shadow but we haven’t heard much about that relationship but I’m hoping that will be explored some more if we get another series. I think they were extremely close. She was his shadow growing up, she would have gone to work experience with him. I think she absolutely worshipped and idolised him, but he also came with this formidable reputation and she is a woman in a still largely male workforce, which is still very sensitive to nepotism. So she has had to work very hard to get to where she is. And having a powerful, impressive dad like that has possibly been a hindrance to her because there are people who don’t like her - we hint at it in episode one - she didn’t get on with her supervisor. I filled in the blanks in my head that maybe that was to do with the fact that she had a famous dad and it annoyed somebody. But she’s still trying to make him proud. She’s lost him recently so there is an enormous amount of pressure she feels.

In a police procedural like Winter, what was hardest to make feel real?

For me, I wanted to physically look right. So, when we were raiding the houses, I wanted to know how to move because there’s nothing worse than somebody pretending to be a police officer but they’re tiptoeing around or their arms are flapping about. I actually did re-do a couple of takes because I watched myself back and thought ‘my god, what am I doing?’. The physicality was definitely something I wanted and needed to work on.

Was smashing the car window enough, or do you want more stunts next time?

I would like so many more stunts please! I want to match winter, he got some cracking stunts. It would be realistic! She’s all hands on deck, she’s a vital person and she doesn’t hold back.

After playing Nina in The Split for so long, did Lauren’s restraint feel strange?

Yes it did, but it was a very welcome new challenge. Nina just vomited up emotion everywhere, most of the time inappropriately, which is fantastic to play. When she was drinking in series one and trying to give up in series two, that was brilliant to delve into. With Lauren, I felt there was less obvious emotions on the surface to go on. This is a woman who doesn’t share, who actually draws strength from stillness and being quiet. You don’t really know what’s going on inside her head. Even though there is a lot going on and she’s hurt and vulnerable and afraid but she doesn’t show it. So I had to find another way of bringing that to the screen so that the audience could see it and not just see her as two-dimensional and cold. I wanted audiences to warm to her, so it was a completely different challenge and it did feel strange.

Annabel wears a blazer dress by NADINE MURABI

At 29, you described yourself as “not the woman and not the girl.” Did turning 40 make the roles more interesting?

The roles I get to play now usually have a couple of teenagers, which is actually something I haven’t experienced yet. I’m often handed roles that are professionally impressive, often quite powerful women which is great! I get given quite a lot of baddies actually, which has always been a lot of fun. I think there’s room for improvement. Yes, there are still good roles. I see a lot of articles about women over 45 saying that the roles aren’t coming and I do sometimes feel frustrated because you have to fill in a lot of blanks with scripts and find nuance. But that’s probably the same for both sexes. I think there’s always room for improvement. There are definitely still roles coming for me at the moment, thank goodness. Actually, when I graduated at 21, people were still selling the notion that if you haven’t made it by 30 you’re washed up, and there was a real fear of that for me, so I’m delighted to have had it the opposite way around. When I turned 30 I started getting the more interesting roles and I have been very lucky. I’ve played very complicated, very brilliant women in different periods, different classes, different parts of the country, so I feel very blessed. But there is always room for improvement.

You were trained to lose your Yorkshire accent. Do you ever wish you hadn’t been?

I do wish I hadn’t just dropped it. I think it started before drama school. I had verse speaking lessons. I’m not entirely sure why, I think I had a drama tutor who was very good at RP and she taught me how to speak with an RP accent which was actually really useful because I’ve done a lot of that in my career. So, it wasn’t just lost at drama school but I do remember them saying at that point, 2002 - 2005, that RP was what people were looking for and I definitely didn’t fight that. I went with their advice. But really I should have nailed the RP as well as keeping my authentic accent. I was all over the shop! I was only just 18 when I started drama school. I was the youngest in my year and did what I was told. And that isn’t a reflection on the school, I just didn’t really know who I was. I’ve worked with Jodie Whittaker who grew up just up the road from me and she never lost her accent. She’s always worked in her accent and it’s glorious. Sometimes people don’t realise I’m from Yorkshire and I’m waiting to be claimed!

Jilly Cooper came to set to meet the cast. Did that make you nervous?

She did say to me over the lunch table ‘oh I wanted to see who was playing Beattie’. She really wanted to know who I was, but it didn’t make me nervous, it absolutely thrilled me! She was an iconic powerhouse of a woman and I was just delighted to get to know her a little bit. I wish I could have got to know her better before we sadly lost her.

Who makes the other worse in Rivals, Beattie or Tony?

I would say they rival each other in evil. I definitely think they encourage each other in the wrong direction. But even Tony is shocked by Beattie. He calls her a cockroach. His moral compass is dubious at the best of times. I don’t think we’ve seen Beattie’s darkest hour just yet, and so I would bet on Beattie being the one who would push things the furthest, but let’s see!

Annabel wears a denim shirt by With Nothing Underneath

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photo   DAVID REISS
styling   ROSIE ARKELL-PALMER
make up   BROOKE SIMONS
hair   SVEN BAYERBACH

copyright LE MILE Magazine / David Reiss

Claire Duc films Jelly Memories between Paris and Saigon

The Childhood Dessert behind Claire Duc’s Jelly Memories

LE MILE

Claire Duc remembers eating her grandmother’s Vietnamese fruit jellies on a patio, sitting on a small red stool beneath electric lights. Given between meals as a reward for good behaviour, they seemed like a secret shared between the two of them. After growing up in France and moving to Saigon, Duc encountered the same dessert at a Vietnamese family celebration. The favourite flavours disappeared first; the others stayed behind. What she had understood as a family tradition was part of everyday Vietnamese culture. She had grown up barely speaking or understanding the language. The discovery made her recognise how much of her father’s Vietnamese culture she had absorbed without knowing.

Duc remembers the feeling of the jelly hitting her tongue, firm yet soft, and the small red stools she only later understood to be Vietnamese. As a child, she had known where to sit and what a treat between meals meant. The customs had reached her through being looked after, long before she could explain where they came from. When Duc asked her aunt to take part, she received the warmth she had always known from her. Her grandmother had died when Duc was young, and her aunt had long held that place in her life. Now she would be playing her own mother, returning to a memory her niece had carried since childhood. Duc remains reserved about her feelings, describing these exchanges as “a dance of words and silence”. “I’m not even sure I told her upfront,” she says.

You grew up in France before moving to Saigon. How familiar did Vietnam feel when you got there?

Claire Duc
I’ve spent almost my entire life in France. I grew up in a French household with some Vietnamese touches. At home and with my extended family, we celebrated Vietnamese traditions, especially at gatherings and Lunar New Year, and always around food. Besides being home to my dad’s culture and a language I barely understood or spoke, Vietnam has always had a strong hold on me through food and tastes, which were the only tangible access I had to this heritage. Or at least that’s what I thought when I was in France.

When I arrived almost two years ago, I discovered that what I thought were family traditions were actually a cultural heritage, something embedded in day-to-day behaviors: how you sit, how you share, or what you don’t talk about. And the jellies were part of this. What I thought was a sweet treat from my grandmother’s household was actually a popular one. When I spent time with a Vietnamese family at a celebration, I realized that it was a colorful treat every family has, always the same flavors, with the less popular ones left behind in favor of the favorites. At that precise moment, it gave me a new reading of this particular memory and of how deeply I’ve been imbued with my Vietnamese background. I can’t claim to be fully Vietnamese, but I can say that I’m more mixed-race than I thought.

And do you remember the last time your grandmother made you jelly? Have you ever managed to recreate that taste?

More than the last time, I remember the context: the room, the light, and the feeling of the jelly touching and hitting my tongue. Most of the time, it was a treat between meals, something special given to acknowledge our good behavior.

We were sitting on the patio, on traditional Vietnamese stools — back at that time, I didn’t know that those red mini stools were Vietnamese — under the electric lights, and I was enjoying these juicy, fruity jellies, firm yet soft, convinced it was a secret between Bà Ngoại (grandma in Vietnamese) and me. In the project, I translated this feeling through the idea of caring and transmission.

Your aunt plays your grandmother in the film. How did that conversation go when you asked her?

My aunt is the eldest of my dad’s siblings, and there is probably a 40-year gap between her and the youngest. My grandmother passed away when I was quite young, so for me, my aunt has always held the role of a grandmother figure. She reacted with a lot of warmth and respect, as usual. She is an actress and a dancer herself, and has been for a long time, so it was an obvious choice for me to have her. I’m still quite reserved about expressing my feelings, so it’s always a dance of words and silence. I’m not even sure I told her upfront that she was playing her own mother, but she obviously knows this was a piece inspired by my personal memories.

What was it like filming those memories in both Paris and Saigon?

We filmed in Paris in a house I know deeply because I spent a lot of time there when I was younger. My aunt and my cousin were there, two of my loved ones. The set in Paris really felt like home. In Saigon, a city I’m still getting to know, it felt more unfamiliar, but it holds possibilities and future perspectives.

By filming this piece, I felt as if I was able to bring both parts of me together by gathering the two cities in one film and confronting the past with the future. In a broader sense, it also brings together parts of me: instead of choosing between this and that, it’s about coexisting with these two faces and opening up a dialogue.

You’ve spent years working in fashion. What made you want to draw so directly on your own life here?

Actually, for every piece of work I do, most of the time I recall my memories and try to convey the feelings I want to express. In my work, creating in the present doesn’t mean we can’t feel anything. I tend to give access to my work through common or familiar feelings rather than pure aesthetics. However, it’s the first time I’ve made a film so heavily inspired by my life.

In recent years, because I’ve shifted my approach to work and life, I’ve had the chance to shine a light on the peculiar things that make me who I am, in a non-egocentric way that offers me the freedom of simply being.

Now that the film is finished, do you see your childhood or your family any differently?

Definitely! Making this project, which is so far the most personal and private one in many ways, gave me the opportunity to reflect on my life in France and here in Vietnam, and on what I thought was common but is not, or vice versa. Taking a step back and shaking up perspectives make life take different paths, which are often the most interesting ones!

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director + creative director   CLAIRE DUC
photo   PABLO DE PASTORS
director of photography   ELLIOTT BANKS + CESAR CADENE
1st assistant camera + focus puller   TRẦN BẢO NGỌC + BÉRÉNICE FARGES
2nd assistant camera   AUSTIN LE
editor   ELLIOTT BANKS
colour grading   MARTHE PITOUS
FX editor   HOANG FILMS
hair + make up   THI LY + MORGANE GAUTIER
models   MARIE-THÉRÈSE PRIOU + NGỌC ÁNH + WENDY
set design assistant   ALOZIA VIRET
music composition + sound design   GIUSEPPE GRAZIANO
sound design   NGUYEN PHAM THÀNH CÔNG
graphic design   VINCENT DUC
digital art direction   PASCAL GAUTIER
production   VINCENT AMSELLE + VY DONG NHAT
production assistant   VU LÊ
wardrobe   PALOMINO + SUBTLE LE NGUYEN

copyright LE MILE Magazine / Claire Duc + Pablo De Pastors

Why Anna Lambe is Keeping One Film to Herself

North of North’s Anna Lambe on Who Gets to Tell Inuit Stories

interview + written ALBAN E. SMAJLI

Anna Lambe’s first short film remains in her laptop’s downloads folder, where she plans to keep it because it still feels “too vulnerable to share”. Her recent acting work includes In Heart of the Beast, alongside Brad Pitt, and a film with Aaron Sorkin. The Inuk actor from Iqaluit leads North of North as Siaja, a young mother finding work and somewhere to live after leaving her husband. The comedy is filmed in her hometown, with its second season premiering on Netflix on November 5. Two seasons of performing Siaja’s more embarrassing scenes have made Lambe less guarded in her own life. She singles out howling like a dog in her underwear as one experience that helped her become more willing to be silly. She also contributes to Siaja’s wardrobe, suggesting Inuit designers and naming Laura Pia Churchill’s amauti-style pink parka among her favourite pieces.

Anna wears a total look by 3.1 PHILLIP LIM and heels by COUTGO

Lambe previously hesitated to describe herself as an actor, a reluctance she now attributes to imposter syndrome. Over the past eighteen months, projects that allowed her to make her own performance choices have helped her feel confident in her work. She favours television’s pacing for the time it gives her to understand a character and develop their story. “Even if my work sucked, it no longer dictates my sense of self-worth as Anna,” she says.

Her character Yura in In the Heart of the South takes somebody else’s story to further her career. Producers regard Yura’s background as permission to access the community’s experiences through her. Lambe challenges the idea that belonging to a community automatically gives someone the authority to depict its trauma. “Basic representation should no longer be the baseline,” she says. She describes the experience of playing Yura as “sitting in the skin of someone that I could become, but never want to”.

Anna wears a coat by HYKE and heels by COUTGO

Anna wears a coat by HYKE, heels by COUTGO and a necklace by Chanel

Alban E. Smajli
Let’s start with a fun fact. You once said you made a short film yourself sitting in the downloads folder of your laptop but never released it. Is it still there?

Anna Lambe
My short film is still sitting in the downloads folder of my laptop! And she will remain there a while more. I am grateful for what making my first short taught me about filmmaking, about patience, and about the logistical feat that is every production ever made, but it still feels too vulnerable to share.

You used to call yourself “someone who acted”. Where are you with the word “actor” these days?

I think my confidence as an actor has definitely grown in the past 18 months. I have done a few projects that have pushed me as an artist and have given me a lot of creative freedom to make fun choices. After watching these projects and digesting them as an audience member, I feel much bolder in calling myself an actor. All that being said, the expectations I have for myself and the point at which I finally feel like I can “call myself an actor” are purely based on my insecurities and imposter syndrome. I don’t think there’s a moment in which any actor earns the title “actor”; simply acting makes you an actor.

The fact that this grace hasn’t extended to me until now is purely internal. It’s not something I project onto anyone else, and I encourage others not to limit themselves in the same way I have.

You also called yourself “deeply unfunny”. Two seasons of North of North must have tested that theory.

I think through North of North, I have become a lot more expressive, including in my sense of humour. Before North of North, I was incredibly shy and introverted and struggled with expressing myself openly and vulnerably in social settings, which I think contributed to finding myself deeply unfunny. I was always poised, thoughtful, and observant, which are good qualities to have, but I think it was a protective mechanism out of fear of people finding me annoying, unfunny, or disruptive.
After two seasons of North of North and having every vulnerability broken open and broadcast for millions to see, including howling like a dog in my underwear and kissing my TV dad, I definitely feel much more willing to be silly in my personal life.

How much say do you get in what Siaja wears?

I get some say in Siaja’s wardrobe on North of North, but our costume department is amazing. In season two, we had Alex Reda as our head costume designer, surrounded by a great team, and Laura Pia Churchill, who was our Inuk costume designer and worked on and designed many items seen throughout the show, including my wolf mitts and my fur trapper hat. They lead the vision, and I add input on what I think makes sense for Siaja, and then costumes build on that vision and we collaborate to find the perfect wardrobe. I also always try to name-drop Inuit designers I love and want to wear, and sometimes we end up getting their pieces, which is thrilling.

Some of my favourites have been jewelry by Heather Dickson Designs worn in the winter ball finale, a raspberry Dias Designs parka I wore in episode 5, an amauti-style pink parka made by our Inuk costume designer Pia Churchill in episode 4, and so, so many more!

Anna wears a total look by EMPORIO ARMANI

And off set, it feels as though a film’s press run now comes with its own fashion campaign.

I think fashion and film are having a really interesting and fun crossover right now that feels reflective of the 50s and 60s era of designers creating costumes for actors in film. Jonathan Anderson doing costuming for Challengers, the way attending fashion week for any of the major houses goes hand in hand with film or TV press runs, and actors’ press photoshoots being opportunities to endorse fashion brands and build relationships with them. They have always been deeply connected, but I think the scale at which it is happening now is interesting and reflective of everyone’s desire for prestige and exclusivity.

How much of yourself did you recognise in Yura when you read In the Heart of the South?

From the moment I read the script, I felt both seen and called out by Yura. As an actor, I am frequently reading scripts about identity, culture, and community and trying to navigate when I have the right to take up space or opportunity in telling a story and what that even means. I think there is a huge grey area that needs to be explored in storytelling regarding privilege, access, and exploitation of identity and culture for social or financial gain.

I think that, across many minority communities, we have spent the years since the creation of film and television fighting for representation and the right to tell our own stories. We have made leaps and bounds in representation, and now we are at an interesting point where basic representation should no longer be the baseline, and navigating how privilege and access play into how we tell stories is necessary. Just because someone belongs to a community does not mean they have the right to create poverty porn, or stories centred around trauma they do not understand but think audiences will respond to. We, too, as people who are part of the communities we are trying to represent, can flatten our own people into two-dimensional characters, or caricatures, or misrepresent them entirely.

Yura is guilty of this – taking someone else’s story and making it her own in an attempt to gain opportunities and further her career. Can she tell this story? Technically, yes. And production companies want her to because they feel that, because of her background, she has the right to a well of specific cultural and identity-based stories that they can only access with somebody of that background. Yura, to them, is an opportunity for something fresh, and they, to Yura, are an in to the industry.
This results in a moral compromise from Yura, with the end goal being a step further into the industry.

I feel like I am constantly navigating this dance, trying to be the best community member I can and avoiding compromising my beliefs about trying to build on every win we have in representation to be able to tell stories that are multidimensional, thoughtful, and meaningfully representative of the community at the centre. Walking away from In the Heart of the South felt like walking away from a cautionary tale of what could happen if I am not careful, and playing Yura felt like sitting in the skin of someone that I could become, but never want to.

Anna wears a coat by AKKI

Anna wears a coat dress by MERUERT TOLEGEN

Anna wears a dress and heels by VALENTINO and a coat by MERUERT TOLEGEN

What caught you off guard on Heart of the Beast?

I have been fortunate enough to work on some large television productions that have helped me understand what working on a set of that size is like, the logistical feats that they are, and how quickly the machine moves to get things done. The most unfamiliar thing, for sure, was working with a dog as my scene partner for all of my scenes. It ended up being a wonderful lesson in being present as an actor, though. When you’re performing, the goal is to always be as present as possible to capture the real feeling of the character and the scene, and when you’re working with an animal, the only thing you can be is present. They will give you as much as you give them, and they will do things that are unexpected, and you have to be ready to react to anything, including crawling across your lap and licking your face while you’re driving into the sunset, which Uber, who played Odin, was fond of doing.

And how did you feel walking onto Aaron Sorkin’s set?

Working with Aaron Sorkin was a dream. I was incredibly nervous for this project – uncharacteristically so – because it was a Sorkin film with an incredibly star-studded cast and a great script. From the moment I came to set, Aaron was so warm, the cast was lovely, and Vancouver crews are always great. Aaron was very patient with me while I worked through my nerves, and then I found my groove. I am so grateful for the opportunity and the patience that I experienced on this set and will always look back on it fondly.

Where do you feel most at home as an actor?

As an actor, I definitely feel like I have found my footing in comedy, and tend to thrive in that setting. I love working in television and the pacing of filming – there’s a lot more time to find your rhythm and a lot more material to sink your teeth into, which helps me understand building out characters and arcs better. As an audience member, I love thrillers and horror; they have always been my favourite genres to watch because of how primal the feelings they bring out are.

They are also genres that have huge footprints in the indie space, which is a great space for creativity and exploring concepts, so horror and thrillers can be great places to find fresh and exciting things to watch. I want to keep exploring genres to see where else I might thrive – I haven’t gotten to do anything sci-fi or action-y yet, and definitely want to give it a go.

So you trust yourself now.

Absolutely. I’ve gone through so many life events and changes in the past 18 months, both career-wise and personally, that have made me a lot more confident and sure of myself as a person, and I think that has translated into my perception of myself as an actor. More than ever, I feel capable of good work; I feel like I have done good work, and even if my work sucked, it no longer dictates my sense of self-worth as Anna. All of that together makes me feel like I 100% trust myself as a newly self-identifying “actor”.

Anna wears a total look by MOSCHINO and heels by COUTGO

Anna wears a total look by MOSCHINO

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talent   ANNA LAMBE
photo   BRENT CHUA
styling   JUNGLE LIN
editor   ALBAN E. SMAJLI
hair   WESLEY O’MEARA (HONEY ARTISTS)
make up    AYA TARIQ (THE WALL GROUP)

copyright LE MILE Magazine / Brent Chua

Leila Khan — On Adultery and Growing Up Too Fast

Leila Khan Wants to Taste a Little Bit of Everything

interview + written AMANDA MORTENSON

Leila Khan first read Jess through a few audition pages for Adultery and immediately recognised someone trying to outrun the fact that she had been forced to grow up too quickly. The rebelliousness was there, but so was the need to make Jess and Ollie feel young, playful and uncomplicated before the story begins putting pressure on them. School follows Jess home, her mother tightens the rules around her social life, and Khan describes the result as an “avalanche effect” that felt recognisable to the teenage experience. Preparing Jess meant building a playlist and thinking about the books she might read, a very different process from Crookhaven, where Khan returned to Amira through diary entries and scripts she read until she could recite them word for word.

Leila wears a total look by MY BEST FRIEND and shoes by MALONE SOULIERS

That attention to detail has sharpened since Heartstopper, Khan’s first professional acting job and the set where she says she made friends for life. She now asks “why” far more often when reading a script, sometimes down to something as small as why a character sighs in a scene. The habit makes sense for an actor already thinking beyond her own performance.

Khan wants to direct one day and spends time on set watching other departments work, asking questions and noticing how directors handle a room. For now, she is still interested in range rather than narrowing herself too quickly. She wants to “taste a little bit of everything,” although theatre is beginning to pull more strongly. Between Adultery, Crookhaven and the final Heartstopper film, Khan is still early enough in her career for each project to change the process, and experienced enough to know that no two characters should be prepared in exactly the same way.

Leila wears a total look by MY BEST FRIEND

Leila wears a total look by MY BEST FRIEND and shoes by MALONE SOULIERS

Amanda Mortenson
When you first read Adultery, what did you know about Jess from the first few pages?

Leila Khan
From the initial audition sides I got a real sense of Jess’ youthful spirit and desire to be free from whatever she’s gone through before we meet her. There’s a rebellious nature to her but it was clear to me that this stemmed from the fact that she had to mature pretty quickly at a young age.

What did you need to get right about Jess and Ollie’s relationship for the rest of the story to work?

It was really important for their relationship to feel playful and new. The authenticity of young uncomplicated love is something Johnny and I spoke about quite often. They’re just two kids that are in love, which makes what happens to them even more devastating.

Of the pressures around Jess — class, school, social media — which one affects her most directly?

The pressure of Jess’ school life bleeds into her home life throughout the show and I think those two things become a combined issue for her. Hannah, her mum, is overprotective and restricts her social life because of her behaviour at school. So it all just comes crashing down causing an avalanche effect which is something that is quite authentic about the teenage experience.

Heartstopper was your first professional acting job. What habit from that first set do you still carry into every job?

I really did make friends for life on that show and I learned quite quickly how collaborative and creative your work can be when you form that level of trust. It’s a really vulnerable experience for everyone on set and while there’s so many departments, we are inevitably all working towards one goal. So going on to any production, it is definitely a priority of mine to form strong connections with cast and crew so that we can all work hard, communicate well but have fun while we’re doing it.

Leila wears a jacket by GANNI, a dress by SANDRO, shoes by MALONE SOULIERS and jewellery by MISSOMA

The final Heartstopper film closes something that began with an open casting call, what was hardest to leave behind?

I suppose all of it! It hasn’t quite sunk in yet because we always come back each year. Next year when we don’t step back onto that set is when it’ll hit me. When I really think about it though, the thing I’ll miss the most is working with my family.

What do you notice in a script now that you might have missed when you first started acting?

From a young age I’ve always had a keen eye for literature and tearing texts apart so nothing really gets past me but I definitely ask WHY a lot more when I’m reading a script. Especially when a character behaves in a way that doesn’t align with me (Leila), asking why constantly - even asking why a character is sighing in a scene is something I’ve definitely done a lot more over the years.

And what is the first thing you do when you return to Amira for a new season of Crookhaven?

Returning to Crookhaven felt exactly the same as being cast in season one. We all put so much love and passion into that project so it was a genuine pleasure to hear we get to do it again. The first thing I do is read the scripts until I can recite them word for word and then for Amira I made diary entries to track where we left her in season one and where you find her in season two. Every role I take on is a different process. With Jess I made a playlist and thought about the kind of books she would read, with Amira it was a lot of diaries and introspection.

Has playing Amira made you more conscious of what an actor can communicate without dialogue?

100%. Amira absorbs and evaluates everything around her before she acts and so when playing her it’s a lot of listening and internalising. In hindsight, this really helped prepare me for stepping into Jess for Adultery.

You’ve spoken before about wanting to direct. What do you pay attention to on set now beyond your own performance?

I would love to direct whether that be TV, Film or Theatre I’m not sure yet. I’ve got a lot of time and experiences to be had before I work it out. At the moment I’ve got the privilege of working with really talented people across all departments and picking their brains. I do take note of what I like about the way the directors work. Most days I’m hanging around on set when I’m not needed and just absorbing what’s going on around me.

What are you looking for in the next role that you haven’t had the chance to explore yet?

To be completely honest I just want to do everything. I want to stretch myself as an actor and taste a little bit of everything. At the moment though I’ve definitely got my eye on theatre.

Leila wears a dress by STELLA MCCARTNEY and earrings by ALEXIS BITTAR

Leila wears a dress by STELLA MCCARTNEY and earrings by ALEXIS BITTAR

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talent   LEILA KHAN
photo   DAVID REISS
styling   PRUE FISHER
hair + make up   CHARLOTTE YEOMANS
copyright LE MILE Magazine / David Reiss

Corentin Fila on The White Lotus, Memory and Acting

perspectives

Finally, Corentin Fila Is Just Acting

written + interview ALBAN E. SMAJLI

“Finally I’m just acting.” Corentin Fila remembers thinking it five minutes into his first day on The White Lotus, after months of hearing everyone else talk about the project before he had even started filming it. Fila came to the profession without much of a plan. At 24, after seeing a Peter Brook production with South African actors at the Bouffes du Nord, he enrolled at Cours Florent. Two years later, he was making his first film with André Téchiné. Before that came boxing, an injury, three years of economics he readily admits left him with very little knowledge of economics, and a long list of jobs including construction and bartending.

Corentin wears a full look by GUCCI, a jacket by LA MASKARADE and a ring by TANT D’AVENIR

Corentin wears a jacket by LA MASKARADE

Fila prepares differently for every role, sometimes doing extensive research and sometimes deliberately leaving room for surprise. For The White Lotus, he met people who reminded him of his character, occasionally inviting friends of friends for coffee and observing their behaviour, their values and mood. He calls it “stealing” from them. Music is another tool: he can spend hours building playlists and using them to think through a character before filming begins.

Directors have repeatedly seen melancholy in Fila, even though his friends would not necessarily describe him that way. He recognises it too, tracing some of it back to childhood, and notes with some amusement that he has also been cast as “the object of desire” more than once. That overlap between performance and lived experience also shapes the way Fila thinks about DÉJÀ VU, with a breakup scene sometimes drawing on something he has actually lived and the feeling still being there hours later, when he goes to bed and thinks, “Wow, it feels like I’ve already lived this moment in my life.”

Corentin wears a coat and blazer by OTTOLINGER

Alban E. Smajli
You're currently filming The White Lotus. Without revealing too much, has there been a moment during production when you suddenly understood the scale of what you had stepped into?

Corentin Fila
I would say it started before production, months before I began to shoot it. It was everywhere because it’s such a big project. Every day, someone was talking to me about The White Lotus. And it was insane. It was the first time in my life that I had to talk about a project every day, months before filming. It was really, I would say, difficult to prepare for this role with this amount of pressure beforehand. And finally, after maybe five minutes on set on my first day, I thought, “Wow, finally I’m just acting, and it’s something I can do.” And now I’m part of this adventure. Before, it was just something really far from me that everyone was talking to me about. And now I’m really part of it.

When acting suddenly became a serious possibility for you, did it take longer to find the craft or to recognise yourself in it?

No, honestly, it didn’t. I think I’ve been really lucky because it was really quick and really natural for me. I was 24 when I saw a theatre play with Black actors from South Africa. It was a play by Peter Brook at the Bouffes du Nord. Before watching this play, becoming an actor was not in my mind. I saw this play, and then I decided to go to Cours Florent. And two years later, I was filming my first movie with André Téchiné. So it was very, very quick, I would say.

Before acting, you studied economics and worked a string of different jobs. What stayed with you from that period?

I studied economics, but it was kind of by mistake. I was in sports studies. I was really good at boxing and I wanted to become a coach or something of that kind. Then I got injured during my first year. And so that’s when I thought of doing something else at the same university. There was a possibility to switch to economics, and that’s how I got into it. But I’m really bad at economics and I have a degree. I did three years of it, but I was working while I was studying, doing small jobs, every kind of job. So I would say I know almost nothing about economics.

But the fact that I worked all those jobs — in construction, as a barman, and many, many different ones — was definitely a huge school of life, I would say.

Looking back at your first roles, do you notice recurring themes or character types that continue to find their way back to you?

Yes, I would say I’ve played many melancholic characters. And it’s funny because my friends and people don’t really know me for that. But I would say I have a big melancholic side to me since childhood. And it’s funny that I play so many melancholic characters because in my life it’s like a little secret, that I carry maybe some sadness from my childhood. And it looks like directors sometimes see it. So yeah, I would say melancholic characters. And I’ve also played “the object of desire” many times. I’ve had many sex scenes in my career.

Corentin wears a shirt by CELINE

Corentin wears a total look by CELINE

Has all the waiting that comes with acting changed your relationship to patience?

I think it’s a job where you wait a lot, and I love it. I think you learn to live in the moment. I think there are two ways to be in this job. When you wait, many actors become nervous. They become really frustrated. And others take that time to cultivate some wisdom and enjoy the present moment.

hat do you usually do while you wait?

I’m just in my head. I’m watching the set, speaking to the team. I’m just in the moment.

Did your father’s work in film ever feel connected to your own path once you became an actor?

It’s very weird because I’m not close to my father as an adult. I grew up with him as a kid, but as an adult, I’m not. We’re not close. We don’t see each other. And I never had the feeling that I was living like my dad. But definitely, in a way, I am. And I have lots of admiration for him, and the artistic side of me, in my blood, comes from him. The first time I did a TV interview, my sister sent me a video of him doing one too, and we were moving the same way. Our faces looked the same. And I was like, “What the fuck? It’s so weird.” I’m definitely proud to be his son.

When you first read a script, what usually makes you want to spend months living with a character?

Usually, it’s not only the character. I think I need to be moved by the story and to think, “I want this story to exist and to be a part of it because I’m moved by it.” Even in a spiritual way, I want it to exist and to be part of it. And if you do it, it’s going to exist for the world to experience it.

Corentin wears trousers and a jacket by 3.PARADIS, a tank top by GMBH, shoes by ROMBAUT, a necklace and ring by D’HEYGERE and glasses by IC! BERLIN

Corentin wears a total look by DIOR

Corentin wears a total look by DAVID KOMA, shoes by PRADA and a ring by D’HEYGERE

And how do you prepare for one?

It depends on the project. I have so many different ways. Sometimes I don’t do a lot of preparation because I feel like I just want to be surprised on set. Sometimes it’s a really long preparation. I do research. I love to meet people and be inspired by them. I work a lot with music too. For hours and hours, I build playlists and I just like to dream while listening to them. Sometimes I read books, watch movies — many different ways.

How did you prepare for your character in The White Lotus without giving anything away?

It’s hard not to spoil anything, but I can say I met with many people. People who made me think about the character through the way they live their lives. And I was also really trying to rely on what I carry within me and where the character and I meet. Sometimes I would ask friends of friends to have coffee with me, without really explaining why. Other times I would tell them. I was trying to steal things from them — their mood, the way they are, their values — that I could see were similar to the character’s. And I thought to myself, “Wow, I want to be like that. I want to act like them.”

What's the worst advice young actors constantly receive?

It’s a good question. I think the worst advice is to pretend like there is one particular way to do this job. Like in life, there are so many different paths you can take, so many different ways to get there. There isn’t one way to do this job. It really depends on your personality, on who you are. So I think the wrong advice would be to say that it has to be done in one way.

Has a scene ever felt like DÉJÀ VU because it brought you back to something you had already lived?

I would say all the time because, as actors, we play with our emotions, and all those emotions are based on things we’ve lived through, experiences we’ve had in life. For example, if you’re acting in a scene where you’re breaking up with your wife or girlfriend, we all know that feeling, you know? And sometimes you go back to bed after set and you’re really sad. I would say on every project you have this kind of moment where you think, “Wow, it feels like I’ve already lived this moment in my life.”

watch the film
/ with Corentin Fila for LE MILE Digital by Artem Sadovnikov

Corentin wears a total look by JUUN.J

Corentin wears a total look by BURBERRY and shoes by GUCCI

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talent   CORENTIN FILA
photography   BOYAN LI
creative direction   BOYAN LI
styling   CHIARA BOTTIN
hair   PIERRE GINSBURG
make up artist   JINDIAN YANG using ARMANI BEAUTY
first photography assistant   THOMAS LAPORTE
second photography assistant   HAN ZIXU
styling assistant   JULIETTE TANGUY
video   ARTEM SADOVNIKOV
production   MARIA VICTORIA RUSSO
location   HOTEL LES BAINS PARIS
special thanks to   STUDIO LA BRIQUE ROUGE

copyright LE MILE Magazine / Boyan Li

Langston Uibel - Acting, Identity and Louis Vuitton FW26

.cover story

Langston Uibel and the Reason Behind the Role

written + interview ALBAN E. SMAJLI

There is a moment in our conversation when Langston Uibel says that a project needs a clear reason to exist. He is speaking about the people behind the work, the perspective they bring and the commitment required to carry an idea through. The sentence lands almost casually, yet it explains much of the path he has taken across cinema, streaming and theatre, and his growing involvement in producing projects of his own.

At 28, Uibel is already testing how much responsibility an actor can take for the work around him. He speaks openly about early performances he would approach differently today, the assumptions that follow certain roles and the need to keep moving before a career begins to repeat itself. What emerges is an actor becoming increasingly precise about where he places his energy, and increasingly determined to help shape what comes next.

coat, jacket + ring LOUIS VUITTON

jacket, shirt, tie, shorts, socks, boots + ring LOUIS VUITTON

Alban E. Smajli
What holds your work together when every new project takes you into a completely different creative environment?

Langston Uibel
I had to learn on the job. I never had a classical education. So I was lucky enough to have these three Netflix shows: Dogs of Berlin, Unorthodox, and How to Sell Drugs Online Fast. I basically always had the opportunity to work with showrunners and creators who have a very distinguished approach to their respective projects.

And I think throughout my career, what holds everything together is that I’m always looking for somebody behind the project who has an absolute perspective and a concrete idea of what they want to do and a reason why they’re saying it. That’s always necessary for me. I don’t have to be on exactly the same page as everybody, but there has to be a subject to discuss. If somebody doesn’t know why we’re doing something, I’m not interested.

I always need to have people who feel like they need to do this, that there is a necessity behind this story and a necessity behind their vision. And that’s where collaboration starts, because that’s the way I approach it. I always come in with 150 percent. Nothing is ever blatant. There is nothing that doesn’t matter. Everything matters so much. And that’s what I need to have with the creators that I work with. At the moment, I feel like I’ve found that most in theatre and cinema. With Christian Petzold, but also with young directors like Jasmin Baumgartner and Romina Küper, as well as my mentor in theatre, Barbara Frey.

Has there ever been a role that felt like it completely disrupted the direction your career was taking?

Well, funny enough, I tend to see myself as quite a serious guy. I mean, I laugh with my friends, but in general I think people laugh way too easily. Everything is not always that fucking funny. Especially when people think they’re funny. Let the others be the judge of that. That also goes for comedies. If we’re talking about something disruptive, actually my next move is that I’m going to be in a children’s movie, Bibi Blocksberg. And I think these classic German children’s film productions have a certain vibe and a certain taste, which I really wanted to be part of.

One of my first film experiences was being an extra in the children’s movie Hanni & Nanni. And now to come back as a proper actor in Bibi Blocksberg, an absolutely legendary German children’s story, is a dream come true.

Have you ever thought twice about a role because of what it might lead to afterwards?

I feel like I grew up in a world where people would still say absolutely outrageous stuff, like you wouldn’t want to play a queer character too often because you would then only get cast as a queer person. I mean, even if that is true, I couldn’t care less. I try to have versatility in my characters, but people sometimes lack the concentration to really look at what makes a character different, the nuances of characters.

People will actually have the cheek to use things like skin colour, sexuality, or style as the differences between characters. Maybe my characters all happen to have a certain swagger, but underneath there are differences. I sometimes feel like that’s a problem in general. People have to understand that you are made of so many little particles and that you can be so many things at once.

After Roter Himmel, did you notice people expecting something different from you as an actor?

Well, working on Roter Himmel, English title Afire, was my absolute home run, because I knew I needed to exist within this kind of space. I needed to meet a director like Christian Petzold to be reassured that my take on art is valid and that it makes sense to dive even deeper and really find out. He gave me that last bit of self-esteem that I needed to know that I can create art and that I can be impactful. I want to develop my own taste.

That work was absolutely pivotal, and I took it into my work on Hijack now and also into everything I do in the future. For me, he will be a mentor. I hope we get to work together again, but even if not, this will be one of my most important experiences. The way he works and the way he sees art is just very similar to mine, and I’m absolutely thankful for that time in my life. But that was three years ago, and we have to move on.

earring, ring + bracelet LOUIS VUITTON

jacket, t-shirt, trousers, belt, socks, shoes + earring LOUIS VUITTON

What makes you trust a director enough to show them a side of your acting you haven’t explored yet?

One of my teachers in primary school said everybody’s best is different, but I think you should always try for the best. As long as everybody wants to try and people aren’t sloppy or lazy about things, things can happen. Things can go wrong. I’m 28, what do I know? But I’ve had experiences with directors who just don’t care, and I think it’s okay. In a capitalist society, you can have people who are not as ambitious, and it’s also fine to just do the bare minimum. I don’t judge that. But I just feel that if you’re only willing to do the bare minimum, then maybe being an artist doesn’t make that much sense.

What did your first season at the Burgtheater ask of you that film hadn’t prepared you for?

I just had to realise that film and theatre have more differences than similarities. In film, if you’re lucky enough, the director will be able to catch something while you’re living in the world that is set in front of the camera. The camera just passes by. The world should already exist. Theatre, for me, can only happen with the audience there. So you have to acknowledge the audience somehow. That doesn’t mean being loud and screaming and big, but you have to acknowledge the audience, even if it’s just through a thought.

I come from film. Film is the thing that I know more about. But I’m now about to do my second play with the same director, The Seagull by Chekhov at the Düsseldorfer Schauspielhaus. I just can’t wait to get back on stage. If I can do a play a year, that would be the perfect balance. And in general, the Burgtheater, where I’m still playing and where we’ve been renewed for a fourth season, has just reassured me that I can do it.

Did producing the KaDeWe film change the way you walk onto a set as an actor?

I just try to limit my commercial activities, but when I do something, I try to take it into my own hands and make sure that whatever I do, even if it’s commercial, shows my take on art, shows my perspective, and gives me the opportunity to express myself.

With KaDeWe, as well as now with the new film I’m about to release for Dr. Martens, which I executive produced, it has been a really nice school for me. It’s been preparation for my first feature film that I’m going to produce together with Jünglinge Film, where I will be playing one of the leads as well as being one of the executive producers. I think we’re looking to shoot in 2028 or 2029, so it will take a while. I am also working with C/O Berlin, where I’ll be producing an intervention performance for the exhibition of Carrie Mae Weems.

I have this notion that I want to take responsibility in the future as an actor, to bring these films into the world and to make my projects successful. Successful doesn’t only mean numbers. I want to make sure they’re relevant, connected to the zeitgeist, connected to debates, and that they make sense. I want to take that responsibility.

coat, jacket, trousers, shoes + eyewear LOUIS VUITTON

trousers, belt, earring, necklace, bracelet + rings LOUIS VUITTON

You work in both German and English. Does switching between the two change the rhythm of a character for you at all?

Oh, not really.

My main base is Berlin. My father has a bar called Dalston Jazz Bar in London, where I am a lot. I was incredibly lucky to shoot Hijack Season 2, the Apple TV series produced by Idris Elba, in London for around eight months last year, which was wonderful because I could work in my other home. For me, English and German are not something where I need to choose. I don’t need to choose one of these. Both are part of me.

Sometimes one language makes more sense. There are specific words that work better in one language, and I have people that I speak English with and use these specific words with, and then I have a German context where I speak German. I’m proud to be both, and I don’t have to choose.

When you look back at one of your earliest films, do you recognise anything in your acting that’s still there today?

No, sometimes I feel a little bit of shame because I started so young. I think I needed the time to understand the importance of my job. I never went to acting school, and my family doesn’t have any connection to the industry. You have to learn certain codes. You have to learn how to talk about it. And I wish I had given myself more time to learn before jumping into projects.

There are some projects where I feel I could have done better, and that hurts sometimes.

If we jump ten years ahead, what would you like audiences to say about the range of roles you chose?

Oh, I don’t know about the range.

In ten years, I just really want to make sure that the dreams I have and keep in my heart sometimes come true. It needs to work. I need this. And I hope that I can just play my part in this world somehow. Even if it’s a small one, I really hope that I can leave an impact.

shirt, trousers, shoes, earring, bracelet + ring LOUIS VUITTON

jacket + earring LOUIS VUITTON

bag LOUIS VUITTON

sweater, shirt, tie, trousers, shoes + bag LOUIS VUITTON

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talent LANGSTON UIBEL
photography FREDERIK RÜGGER
styling KLAAS HAMMER
hair + make up ILYA FESENKO
editor ALBAN E. SMAJLI
special thanks to THEATERKUNST

credits
all Images (c) LE MILE
and Federik Rügger

Lara Pulver On MobLand and The Riders

Lara Pulver on Why Bella Feels Different in MobLand Season 2

interview + written MONICA DE LUNA

On MobLand, the first step back into Bella is usually a fitting with costume designer Rebecca Hale, literally getting back into the character’s shoes before her dry wit and directness follow. Season two gives Lara Pulver more time inside the larger ensemble, bringing her together more often with Helen Mirren, Pierce Brosnan, Tom Hardy and Paddy Considine. Those days, she says, are among the most enjoyable on set, while Guy Ritchie’s method keeps the work unusually precise. Scenes are rehearsed properly, he knows when he has what he needs, and very few takes are wasted.

Lara Pulver
/ seen by David Reiss

Eight performances a week as Golde in Fiddler on the Roof gave Pulver the stamina and concentration that later proved useful on long shooting days, although she sees a fundamental difference in how much control an actor keeps in each medium. A film, in her view, effectively exists three times, first on the page, then in what the actors and director make during filming, and finally in the edit, where the result can change considerably again. On stage, she remains responsible for the performance for the full length of the evening. That experience also feeds into new characters in less obvious ways. Sometimes an earlier role returns through physical memory, with a gesture or quality surfacing during preparation. Pulver describes all of those characters as still being somewhere inside her, available to draw from until the homework is finished and instinct takes over.

That process became particularly interesting with Jennifer in Edward Berger’s The Riders, a character Pulver describes as an enigma. Her task was to work out what could make Brad Pitt’s character spend an entire film trying to find her, without removing the uncertainty that makes Jennifer compelling in the first place. Pulver is equally unsentimental about what happens once the work is finished. The projects that become what she calls “golden nuggets,” creatively satisfying work that also connects far beyond expectations, are rare. And when asked what she would still like to be trusted with, she does not name another screen character. She wants to be back on stage, singing.

Lara Pulver
/ seen by David Reiss

Lara Pulver
/ seen by David Reiss

Monica de Luna
When you return to a character after time away, what comes back first?

Lara Pulver
First day back on MobLand, is usually for fittings with our costume designer Rebecca Hale which is hugely helpful to literally get back into Bella’s shoes. We have a lot of fun creating the character’s wardrobe for the show. Bella’s dry witted directness follows closer after! 

What have you learned about Guy Ritchie’s way of directing on MobLand by watching how he handles an ensemble this large?

Guy knows exactly what he wants/needs from a scene and he knows when he's got it. This often means it's well rehearsed, and then we do very few takes.

Working alongside Helen Mirren, Pierce Brosnan, Tom Hardy and Paddy Considine, what do you find yourself paying closest attention to between takes?

We laugh a lot as a group. It’s actually quite rare that we’re all in a scene together - more so in season two. We relish those big ensemble scenes. They’re enormously fun days.

Do characters from earlier in your career ever return to you unexpectedly when you’re preparing something new?

Sometimes a physical memory is triggered - like muscle memory.  I guess they’re all in me somewhere because they’re all essentially from me, just jumbled up inside. It can be useful to refer back to the quality or essence of a previous character. It’s like a receipe piecing a character together, and then once the homework is done, you let instinct take over.

Lara Pulver
/ seen by David Reiss

What did playing Golde in Fiddler on the Roof sharpen in you that you carried back to the camera?

It’s exhausting and exhilarating doing eight shows a week onstage in front of a live audience. The focus and discipline it requires and the stamina it takes - it sets you up well for long days on film sets. 

After moving so often between stage and screen, what part of acting still feels least controllable to you?

What ends up appearing on screen, is completely out of an actor's hands. There's essentially three movies made. The script is the first version - the writer’s vision. There’s the actor and director's combined interpretation, but that’s also dictated by what the camera actually captures and how, and then the final edited version which can change hugely from the previous two. On stage, for two and a half hours - or however long the play is - you are in complete control of how you tell that story every night. 

What interested you about the character you play in The Riders when you first encountered her on the page?

Jennifer is an enigma. It was up to me to decide what it was about her that would make Brad Pitt’s character go on a movie long odyssey to find her. 

What did you discover about Edward Berger’s way of directing once you were actually working together?

Edward is an artist. Enormously collaborative and an extraordinary film maker. He was all over every detail of The Riders movie. He is the ultimate caretaker of a story. 

Is there something you understand about acting now that you could only have learned by staying with it for this long?

Golden nuggets are rare. A golden nugget being, the combination of incredibly creatively fulfilling work that really lands with an audience… that just hits a moment, and is propelled into the zeitgeist. Exceeding any expectations. 

Which kind of role are you still waiting to be trusted with?

I can’t wait to get back on stage singing again.

Lara Pulver
/ seen by David Reiss

Lara Pulver
/ seen by David Reiss

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talent   LARA PULVER
photo   DAVID REISS
styling   ROSIE ARKELL PALMER
hair   LEWIS STANFORD
make up artist   NEIL YOUNG
copyright LE MILE Magazine / David Reiss

The Parts You Haven’t Met Yet with Araloyin Oshunremi

.digital

Araloyin Oshunremi and the Parts You Haven’t Met Yet

written LEMILE

Araloyin Oshunremi has spent the years since Top Boy making sure the role that introduced him does not become the one that defines him. At 22, that has already meant moving between sharply different registers: Heartstopper, Steve and, most recently, MOMO, Christian Ditter’s English-language adaptation of Michael Ende’s novel, in which Oshunremi plays Gino alongside Martin Freeman, Laura Haddock and Claes Bang.

For Oshunremi, that range begins with the idea that a character is never entirely foreign, he describes each role as a part of his own personality that has not yet been accessed, then builds outward from there through observation: speaking to people whose lives resemble the character’s, studying their mannerisms and mentality, and testing what can be carried into his own performance without losing its credibility.

Voice, perhaps more than anything else, reveals how long those characters stay with him. Accents are the habit he finds hardest to leave behind, and they now sit at the centre of two very different challenges: mastering an American register as he prepares for Los Angeles, and speaking in a Nigerian accent for BBC production WAHALA, something that connects the work directly to the way he speaks with his mother at home. The next phase of his career is opening outward, but its most interesting question may be how much of home travels with him.

Araloyin wears a shirt and shorts by VLISCO with a belt by HEREU STUDIO

LE MILE
Top Boy made people associate you with a very specific kind of realism; what did you have to do afterwards to avoid being placed in one lane?

Araloyin Oshunremi
I had to do roles completely different to Top boy after finishing top boy for example MoMo, heartstopper and Steve just to show my versatility. At the same time I’ve also made sure my fashion is completely outside the box and different from what people would expect showing range in my personality.

What did you understand about acting on Top Boy that no acting class could have taught you?

That each role or character you play is a part of you however you just haven’t unlocked it yet. So you’re never acting as someone else but instead unlocking another version of your personality you never knew you had.

When a role is far from your own life, what is the first practical thing you do to make it believable?

I do my research on people who have lived that role in real life, if some are close to home then I ask them questions just to understand how they would act in certain situations. I study them to see how their mannerisms are how their mentality is and then adopt that into my performance. But I also look within deep and see if I have any traits similar to the character.

What is the hardest habit to lose when you move from one character to the next?

The way the character talks for me is the hardest thing to lose only because your used to one accent for a long period of time that sometimes it sticks with you for a long time.

Araloyin wears a vest, trousers and belt by DOLCE & GABBANA with shoes by DIESEL

Araloyin wears a leather jacket, cream trousers and black-and-brown shoes by BERLUTI

Momo is a major shift in tone and scale; what felt unfamiliar about acting inside that kind of world?

Having to use my imagination to see things that wasn’t there but also having to have a young soul was quite hard for me. With Momo a lot of the world was fantasy and some of the things weren’t actually there in real life but got added in the edit so when acting I had to imagine it being there and genuinely believe it was there so the performance felt real and natural.

You are 22 and already moving between British TV, international film, and now Los Angeles; where do you feel most tested right now?

For me I feel more tested in LA I feel like it’s a whole different world of acting in America and as a Brit acting in America I feel like a lot of eyes are on us. But also having a good American accent so the audience don’t recognise we are a Brit is very important and hard to do but is needed.

When you work with actors who have much more experience, what do you watch most closely?

How they prepare for a role. The difference between experienced actors and new actors is the prep for a role. Experience actors are in character or in the mindset of the character a month before even entering rehearsals, they do their study on the character so that when they’re on set they don’t find it hard to get into character.

Araloyin wears floral knitwear, blue denim and boots by DIESEL

What kind of note from a director actually helps you?

When a director tells me to be free and explore on the next take. Being told that pushes me to think in a different way but also take risks that I wouldn’t usually on a normal take and usually the risky takes are the best ones for the scene.

With WAHALA coming next, what are you interested in showing that audiences have not yet seen from you?

Me playing a character in a Nigerian accent, being from Nigeria getting to play a Nigerian is one of my dreams and because I speak in that accent when I’m with my mum at home it feels surreal to see it on screen.

What do you want your move to Los Angeles to change, and what do you not want it to change?

I want my move to LA to push me in my acting but also make me learn new styles of acting. I want it to have a positive change on my mindset on how I approach roles and hopefully I’m able to adopt skills from some LA actors. And what i don’t want it to change is my london culture I feel like being from london is an amazing thing because of how diverse and multicultured we are.

Araloyin wears a jacket and vest by RALPH LAUREN

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talent ARALOYIN OSHUNREMI
photography JULIEN LENTIN
fashion WILOW DIALLO
hair SOLINE DE MEDEIROS
make up DIVINE M
casting director MARVIN LATOURNALD
casting MODELS LANE
fashion assistant WISSAL TOUMA

credits
all Images (c) LE MILE
and Julien Lentin

Beyond Maxton Hall With Harriet Herbig-Matten

Harriet Herbig-Matten Beyond Maxton Hall

interview + written KLAAS HAMMER

Who am I when no one is watching? Am I myself when I’m grocery shopping or working? Do I adapt, perform, put on a role? There are countless theories of identity, from Leibniz to Locke to Kant. Kant, for example, describes identity as a distinction between the transcendental self, the one that gives structure, and the empirical self, shaped by experience. From the influences we are born with to those we encounter throughout life, everything contributes to shaping who we are.

Harriet wears a dress by MORPHSTUDIO, shoes by SCAROSSO, rings by ALAN HAMILKO and earrings ARCHIVE

I sat down with actress Harriet Herbig-Matten to talk about identity.
I first met Harriet briefly five years ago at a Fashion Week event in Berlin. What stayed with me was a single thought: what a positive presence. In the years since, the young actress has worked her way up to become one of the most successful German actors of her generation, gaining international recognition through her leading role in the Amazon series Maxton Hall.

Has success, or the industry, changed her? No. When we meet again for this interview, her infectious smile is instantly there. Harriet knows what she wants and, more importantly, who she is. You sense her gratitude: for her success, but also for her family, who have supported her unconditionally from the very beginning.

The years ahead hold much to look forward to: new roles, new facets, while remaining unmistakably Harriet. She lives firmly in the present, yet one day, someday, she will turn her back on the big city. A farm, perhaps a few chickens, and still, without a doubt, a deep love for the profession she calls her own.

Harriet wears a coat by YASPIS, tights by FALKE and jewelry by ALAN HAMILKO

Klaas Hammer
What does identity mean to you?

Harriet Herbig-Matten
Identity is a very big word for me. It’s about how you express yourself in different ways – through fashion, art, or the way you choose to live your life. Of course, what you receive from your family also plays a huge role. For me, identity is closely connected to experimenting and personal growth. It’s not something set, but something that constantly evolves.

You became well known at a very young age. Did being judged by others so early on influence how you see yourself?

Definitely, although I think much of it happened subconsciously. I started acting when I was twelve, and at that time it actually gave me a lot of confidence, because I already knew very early on what I wanted to do. So I don’t think it made me insecure in the beginning. Only now, with the increasing attention (especially through Maxton Hall) and with social media, I notice how easy it is to feel like you have to live up to a certain “image” people have of you. That’s why I believe social media can be dangerous for young people. When I was younger, I didn’t really notice it at all.
With every negative comment, you start doubting yourself and questioning things. That’s why having a strong support system is so important. I’m very lucky to have friends and family who support me and are there for me.

How much of Harriet is visible in the roles you play? Is that something you think about when reading a script?

I think you inevitably give every role a part of yourself. At the same time, you also take something away from each role. That’s what I love about my job – you get to live a character and give them your own interpretation.
On the other hand, I often feel like I learn something from every role. Right now, it’s actually a goal of mine to play characters that, at first glance, are completely different from who I am – to create more separation between myself and the role. That’s not a negative thing at all; I think it can be very enriching.

Fans often don’t see Harriet, but the characters you play. Does fully immersing yourself in a role make it harder to let go afterward?

Yes, absolutely. When we started shooting Maxton Hall, I was 18. If you’re filming for months and fully immerse yourself in that world, it becomes everything for that period of time. But that’s also something really beautiful – you get to escape into an almost unreal world for a while.

Harriet wears a headpiece by THEATERKUNST

Have there been roles where you felt you discovered a side of yourself you didn’t know before?

Honestly, with almost every project. You’re constantly pushed to different limits and learn how resilient you really are. You also meet new people every time. A film set is huge – from fellow actors to set design, hair and make-up, catering, production, and so on. All these different characters and energies come together. That makes it exciting, but also challenging. Actors are just human beings, and if someone is having a bad day, you can’t simply cancel everything.

With Schwarzes Gold, I felt a lot of respect for the role because it’s set in a completely different historical context – a time we can hardly comprehend in our privileged society, where people were fighting for survival every single day. The character was filled with a lot of rage, and understanding that rage – where it comes from and why it exists – taught me a lot.

Does it comfort you to already be so successful at the beginning of your career, or does it create pressure to live up to that success?

Somewhere in between. The paradox of being human is that you always want more and are rarely fully satisfied. But what is the actual goal, and where are you right now? I believe the journey itself should bring a sense of fulfillment, not just the destination.

I’ve moved away from the idea that everything I do has to be as successful as Maxton Hall. I want to takes on roles that genuinely interest and challenge me, regardless of the size of the project. I think that’s a healthy approach, and it can be very healing to focus on what a project gives you personally. Of course, I’m incredibly grateful that Maxton Hall reached so many people. But to truly realize what that means – that hasn’t fully sunk in yet.

When you look at yourself ten years from now, do you think identity will feel even more “settled,” or will it always remain a process?

I’ve always been pretty clear about what I want and who I am. I had that sense of stability quite early on, partly because my family always gave me a lot of support and encouraged me in everything I wanted to do. I grew up very protected, and I think that gives a child a lot – confidence and a strong sense of self.
For a long time, I didn’t take opinions outside my family too seriously – it was more of a “whatever happens, happens” attitude. That has changed now, and I find myself doubting more. But I think it’s healthy to accept life as it is. That can bring a lot of inner calm. I’m not a child anymore; I feel more settled in myself and in my life. Some things simply can’t be controlled. With success comes a growing respect for the next steps — for the roles you choose and the paths you take. Looking ten years ahead, I hope to have found my way back to more inner peace and a stronger trust in life.
Right now, everything feels very intense and fast, which is probably typical for your twenties – you’re caught in a whirlwind, trying to avoid certain things while also trying to control everything at the same time. And yet, there’s also this quiet longing inside me for a calmer life.

Maybe a farm one day, with chickens?

Exactly. Still doing the job I love, of course – but alongside that, I’d really like a simple life as well.

Harriet wears a dress and shoes by VALENTINO and a ring by ALAN HAMILKO

Harriet wears a dress by Sylvio Giardina

Harriet wears a dress by Ferragamo

Harriet wears a dress by ETRO and jewelry by TOM WOOD

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talent   HARRIET HERBIG-MATTEN
photo + creative direction   FRAUKE JOANA
styling + interview   KLAAS HAMMER
production   MAXINE SCHALL
set design lead   EUGENIO PERAZZO
make up artist   PHILIPP VERHEYEN using TWEEZERMAN
hair   ATTILA KENYERES
light tech   EDGAR SCHERWINSKI
photo assistant   JOHANNA SUSTMANN
set assistants   NATHAN LEWI-LEVÉEL and NATALIA DNES
make up assistant   EVA HERBOHN
hair assistant   LOUISA BOCA
styling assistant   LOTTA MICHELS
talent management   MALVE FIEDLER
copyright LE MILE Magazine / Frauke Joana

Acting, Folklore and the Dark Side With Noomi Rapace

Noomi Rapace Has A Thing For The Underworld

interview + written ALBAN E. SMAJLI

We meet on Zoom. Noomi Rapace logs in from her London home — a former blacksmith in West London where horses were once shod. She has just come from training, preparing for her next role, and joins the call in a worn hoodie reading “TOPPER Baseball.” There is a physical alertness about her, even through the screen — as if she is already halfway inside another character.

Noomi wears a dress by COMME DES GARÇONS and shoes by COMME DES GARÇONS X MEXICANA

She moves to a quieter room and settles at a desk. The house, she tells me, carries history. Growing up on a farm with horses in Sweden, she immediately felt connected to the space. “You always feel what’s been happening in a place before you came there,” she says. It’s a sentence that could describe her entire career — sensing what lingers beneath the surface.

Rapace has built her body of work on intensity. Women under pressure. Characters on the edge of survival, identity, transformation. There is something unguarded in the way she speaks — direct, curious, emotionally present. She meets discomfort directly. When I introduce myself as the founding Editor-in-Chief of LE MILE, she smiles and says she has followed the magazine for some time. “It feels consistent,” she notes. “It doesn’t feel like it’s selling out. In this era where everything feels controlled by big machineries and politics, that’s rare.”

With that, we begin.

Noomi wears a total look by AMI PARIS

Alban E. Smajli
Let’s start with a fun fact. In Germany, you’re voiced by Sandra Schwittau, also the German voice of Bart Simpson. Did you know that?

Noomi Rapace (laughs)
That’s amazing. Really?

Yes. It’s a sharp, slightly husky voice with cool intensity — very close to yours.

Bart Simpson and me. That’s amazing.

Have you ever watched yourself dubbed in another language and felt a voice was very close to you?

I once heard myself speaking Italian during interviews years ago. It was very girly and very different from my voice.

In Sweden we don’t dub — everything is original language with subtitles — so it’s not part of our culture. 

The first time I heard myself dubbed was with The Girl with the Dragon Tattoo. It was quite a shock. Now I’m used to it. And soon, with AI, there won’t even be a different voice. They’ll just use mine. That’s a bit frightening. I have a voice in Germany, one in France, one in Spain. It’s remarkable that an actress in each country interprets the whole performance.

If you could swap lives with one of your characters for a day, who would it be?

I loved playing the evil elf in Bright. She’s completely dark, a sociopath with magical powers. Embracing the dark side was fun. But on a deeper note, the character in Constellation. I would love to be an astronaut for a day — to be up in space and look down at my life.

Is there a place in Lisbon where you go to reconnect with yourself?

I go to the ocean. The beach is about 25 minutes from my house, and I go even if it’s windy or raining. For me, the ocean is really cleansing. I actually speak to it. I’m like, “Hello, I’m here again.”
There’s something about standing there, feeling the wind, the salt — it resets me. And I have a favorite beach club where I eat lunch and dinner, where I celebrate my birthday. It’s nothing spectacular, very low-key, but I love the owner. It’s right on the beach. That’s really my spot.

What part of your identity has most influenced your choice of roles?

Curiosity. I’m very curious about people. I love asking questions and going deep into people’s lives.

I also have this sense of not belonging to one place or language. I adapt easily. I can become whatever my surroundings are. A bit like a chameleon. That allows me to lend myself to many different characters. I can identify with many people because I have them in me.

Noomi wears a top and trousers by MAISON MARGIELA and a necklace and bracelet by MESSIKA. Sculpture by Jean-Guillaume Mathiaut.

You’ve worked across large productions and smaller films. What excites you most right now?

Directors excite me the most. It doesn’t really matter whether it’s a big studio production, a streaming production — which is the new studio — or a small German indie film. That part isn’t what drives me. It’s always about the people involved. And especially the director. I’m very director-driven. For me, it’s about who I’m collaborating with — who is leading the vision.

If you could direct your own film, no budget limits, what story would you tell?

I’m very intrigued by gods and half-gods, by the underworld — folklore, vampires, elves, trolls. I love that mythology. I’m fascinated by what happens when you mix folklore with the present day. Like Nordic gods living in London today. Or something ancient colliding with something very modern.
I’m drawn to contradictions. When things clash, when they’re not harmonious or perfectly synchronized — that tension is exciting to explore. That’s where something interesting can happen.

Have you ever taken a prop from a set?

When I did Prometheus in Iceland, I had all these armor pieces on me — loads of bits and details attached to the suit. One day we were shooting on a lava field. I was running up this hill, full speed, with a spaceship chasing me. And I lost one piece of the armor. We searched everywhere but couldn’t find it. It was just gone. Years later, when I came back to Iceland to shoot Lamb, the director, Valdimar Jóhannsson, came to me with a small package. He said, “This belongs to you.”

He had been part of the Icelandic visual effects team on Prometheus. He had found the missing piece and kept it all those years — and brought it back to me. It felt almost surreal. Like something completing a circle.

In Mother, what was the most emotionally challenging moment?

There were many difficult days. But there was one night in Kolkata — we were filming the train scene with hundreds of extras. It was around three in the morning. I was completely exhausted emotionally. We had been shooting for months, and I could feel how the environment, the poverty of the city — which hasn’t changed much — was affecting me deeply. I had never seen that level of poverty before. Seeing all the children, all the families… I felt very fragile.

We were waiting for the train for hours. When it finally came, we did a couple of takes. Then the director came to me and asked if I had one more take in me. And I just started crying. I said, “No. I don’t have anything left.” There were moments during that shoot where I felt like Mother Teresa had moved into me. There was no distance between me and her. No cushion. It felt like I was hitting hard surfaces with my emotions.

Some actors talk about “shedding” a role after filming. Have you struggled to leave characters behind?

After Prometheus, I remember sitting alone in a hotel in Iceland and not really knowing who I was. I felt quite lost. It was like I had been in space — and I hadn’t fully come back yet. It took about a week before I felt grounded again. After Lisbeth Salander, it was even harder. When we finished filming, the producers came with a big bottle of champagne to celebrate. And I just ran to the bathroom and started vomiting. It felt like my body was expelling the character. Almost like an exorcism. For weeks I was just walking around the city, feeling like I was in limbo — caught between something. Sometimes the landing is softer. Sometimes it’s brutal. I haven’t found one technique that works every time. Every character lives differently in me.

How do you reset?

I work out a lot. I have my routines. I meditate. I brush my body every day. It’s about reconnecting physically.

I try to stay close to people I feel safe with — my sister, my son, my family, my friends. I don’t travel. I don’t put myself into unknown situations the first couple of weeks after filming. I stay in my cocoon, with people who know me and allow me to be all these strange versions of myself. I’m normally quite emotional, so all the vulnerable reactions are embraced by them. I simplify my life after filming. The physical aspect is very important. Movement. Cold plunges. Shocking the system. Anything that brings me back into my body. That normally helps me reconnect.

Lastly, if you stepped into another profession for a month?

I’d probably run a ranch with loads of horses. Very Yellowstone style. I’d be out riding in big open fields, collecting the animals, living that farm life. I love horses. I grew up with them. There’s something about that life — being outdoors, being close to animals — that feels very grounding to me. So maybe I’d be a horse trainer.

Noomi wears a dress by COMME DES GARÇONS and shoes by COMME DES GARÇONS X MEXICANA

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talent   NOOMI RAPACE
image consultant   NICOLAS AKSIL
photography   ISMAËL NEBCHI
photography assistant   JACOPO MARCONI
stylist   AURORE DONGUY
styling assistant   SILOÉ
hair   HENRY OLIVIER with DYSON & ELEVEN AUSTRALIA
make up artist   JEANNE SCHNEIDER
edit   ABDEL KEBDANI
location   STUDIO A23
production   MEDIA UP PRODUCTION
production manager   YOUMNA BECHOUEL
sculptures   JEAN-GUILLAUME MATHIAUT
copyright LE MILE Magazine / Ismaël Nebchi

Gizem Emre On Identity, Confidence, and Staying True to Yourself

Why Gizem Emre Is Done Measuring Herself Through Other People’s Eyes

interview + written THINLEY WINGEN

For years, Gizem Emre has been a familiar face on screens, red carpets, and across Germany’s cultural landscape. Yet despite growing up in the public eye, the actress describes herself as much quieter than many people might expect.

Gizem wears top, pants and jewelry by IOANNES, tights by FALKE and shoes by H&M Studio

"I think many people are surprised when they meet me in person because privately I'm much calmer and more reserved," she tells LE MILE. Born and raised in Berlin, Emre grew up between cultures and learned early on how to navigate different expectations while staying connected to herself. Over the years, she has developed a stronger sense of confidence, letting go of constant comparison and placing greater value on how she feels rather than how she is perceived. "I think the older you get, the more important it becomes how you feel about yourself instead of constantly thinking about how you appear to others." Below, the actress reflects on public perception, belonging, self-confidence, and finding moments of calm in an increasingly noisy world.

Gizem wears look by ELISABETTA FRANCHI and shoes by IOANNES

Gizem wears a dress by DIESEL

Thinley Wingen
Many people feel like they already know you before you've even said a word. How do you experience the difference between public perception and who you actually are?

Gizem Emre
Because I play many different roles and show different sides of myself through them, I’m not even sure if people have one specific image of me. I actually think many people are surprised when they meet me in person because, privately, I’m much calmer and more reserved than some might expect at first glance. As a viewer, you often only see fragments, a role, an appearance, or an interview, but not necessarily the person behind it.

You have been in the public eye for many years. What has changed about being a woman who is constantly seen and judged?

A lot has changed over the years. I’ve become much more confident, I know myself and my body better, and over time, I’ve learned not to compare myself to others all the time. You grow up with certain beauty ideals, and especially in the public eye, you are constantly being judged, consciously or unconsciously. It used to affect me more, but today I see things much more calmly. I think the older you get, the more important it becomes how you feel about yourself instead of constantly thinking about how you appear to others.

Gizem wears a dress by DIESEL

You often come across as very confident and present. Are there still moments when you feel misunderstood or reduced to a certain image?

Being able to speak freely also means allowing yourself to be seen without filters, and I think the fear of being misunderstood or not being taken seriously has been with me for a very long time. Especially when you enter the public eye at a young age, you quickly develop the feeling that you constantly have to prove yourself.

How has growing up in Berlin and as a Turkish-German woman shaped your understanding of belonging, strength, and identity?

I grew up between two cultures, and I see that as a gift. Of course, it can also come with a certain sense of being torn between different expectations or perspectives. But I was lucky enough to grow up in a very liberal family, which meant I never felt like I had to choose one side over the other.

What has helped you stay true to yourself over the years, despite public attention, social media, and outside expectations?

Above all, spending time with myself. I think it’s incredibly important to keep coming back to yourself and sorting through your own thoughts. Especially in a world where so much is constantly coming at you from the outside, you need that sense of calm to stay grounded.

Gizem wears top, pants and jewelry by IOANNES, tights by FALKE and shoes by H&M Studio

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talent GIZEM EMRE
photography NIC SCHOPPET
hair + make up FINA BOATENG
styling KLAAS HAMMER
interview THINLEY WINGEN
management BTA / CAROLINA DACHS

Jacob Greenway Shares His Camera Roll — Prepared to Play Jude Bellingham in Dear England

#ThePersonalEdit

Jacob Greenway Opens His Camera Roll From Dear England

written LE MILE

For this edition of The Personal Edit, Jacob Greenway shares a glimpse into his personal camera roll during the making of Dear England, the BBC adaptation of James Graham’s acclaimed stage production about Gareth Southgate and the England national football team. In the series, Greenway steps into the role of Jude Bellingham, one of the defining young players of England’s current generation.

Read throughs are special because it’s the first time you see the script come to life. I was consumed with excitement, gratitude, and trying to look calmer than I actually felt.

Moving between training grounds, set moments and the atmosphere surrounding a production shaped by football culture and national expectation, Jacob´s photos document a period balancing performance, preparation and the intensity surrounding one of the country’s most closely watched stories. Alongside Joseph Fiennes as Gareth Southgate, the series revisits the emotional pressure, ambition and scrutiny surrounding modern English football. Shot on his phone and paired with his own captions, The Personal Edit offers a direct look into the experience from Greenway’s perspective.

The only photo i’ve got from a base. The amount of hours we spent playing football at base was breathtaking. Some of my fondest memories are from kicking ball with the lads.

My first day filming. Energy was high. Vibes were immaculate.

Pre-training scene in my trailer. We spent a lot of time in these kits over the shoot, but this specific kit was always the standout for me.

Wondering round the pitch trying to get an aesthetic pic when I probably should’ve been paying attention.

A quick break with Roman Kemp and The BBC One Show during my stunt rehearsal. I was lucky to have Tyson with me throughout the process - if I broke my leg best believe he’d step in as my stunt double - had a wig on standby!

Rented out Tottenham Hotspur’s, as you do.

To many people’s surprise this was my first time inside a football stadium.

Sir Paul Whittington watching one of the overhead kick takes - The expression on his face was priceless. It felt good pulling that off.

Action shot from the Switzerland penalties scene. I spent the best part of two weeks making sure my run up was identical to Jude’s - only to get to set and find out they were only shooting my feet. still had to deliver the whole performance though.

all images
(c) Jacob Greenway

Between Television and Independent Film With Izzy Meikle-Small

Izzy Meikle-Small
Between Television and Independent Film


interview + written SARAH ARENDTS

Joining Outlander in its penultimate season places Izzy Meikle-Small inside a production that has been running for years, with an established cast, a fixed workflow on set, and an audience that follows the series closely. She appears as Rachel Murray, a character whose decisions are guided by her Quaker faith, which led Meikle-Small to spend time researching the community in detail and understanding how belief informs everyday behaviour. That work translates directly into the performance, shaping how the character speaks, how she reacts in conflict, and how she holds her position within scenes that carry multiple timelines and intersecting storylines.

Alongside this role, Meikle-Small continues to develop her own projects through producing. EMIKO JONES, a short film she produced, combines a bilingual narrative with elements of musical storytelling and was developed together with writer and director Hanako Footman. The production process required close involvement in creative and practical decisions, from structuring dialogue across two languages to managing the limitations of a low-budget shoot, resulting in a project that reflects her growing interest in shaping stories from the ground up.

This direction extends into her plans to direct her own short film while continuing to act, with a clear focus on independent productions where she can remain closely involved in performance and development. Feature-length work is part of that trajectory, with the intention to build projects that allow for sustained creative control across all stages of production.

Outlander episodes are being released weekly on Starz and MGM+.

Sarah Arendts
Looking back at your early years as a child actor, which experiences from that time still shape the way you approach your work today?

Izzy Meikle-Small
I think that stepping on your first set at such a young age inherently changes how you experience it. As a kid you still see acting as ‘going to work’ but it’s ultimately much more playful and less self conscious. Something in that remains in how I work. I wouldn’t say I was an unselfconscious person, but when I’m on set I do feel like that falls away in a specific way. I think that must be because of how I first experienced the environment.

With the eighth season of Outlander marking the end of a very long cultural phenomenon, how did it feel to step into such an established world and find your own space within it?

It’s definitely a little daunting to join later on in a series. They already had six seasons in the can so you know everyone will have very established relationships in the cast and crew, and that fans are very engaged and will have specific expectations. But to be honest, it couldn’t have been a better experience for me, on both sides. On set I was welcomed in with open arms, and made to feel at home very quickly, and the fans have been incredibly supportive, even from my casting announcement. It’s been a real privilege to get to join such an iconic show and be part of that story. 

What aspects of Rachel Murray’s worldview were most interesting for you to explore as an actor?

Rachel’s faith is hugely important to her character. It’s the core of who she is, how she makes her decisions, how she chooses to move through life. I didn’t know much about Quakers before starting the show, so getting to dig into researching the community was really interesting. Quakers are very cool! They were very progressive. Ultimately I think that her faith and her moral compass define her, almost moment-to-moment, and I’d never played a character who had such an external force influencing their decision making, so that was very interesting to balance.

With your upcoming guest lead appearance in Call the Midwife, what continues to draw you toward historical storytelling and period drama?

I think period dramas seem to choose me! I do love them, but I would love to wear a pair of jeans for a job one day… No but seriously, for Call the Midwife, I actually was drawn in by my character, Thelma. Her story arc is pretty gnarly, but ultimately ends in hope. I think that’s generally what draws me to a job, the character and their specific emotional arc. Call The Midwife is amazing at having guest roles that are very well rounded with very satisfying pay off.

Beyond acting, you are actively producing your own projects. At what point did you start feeling the need to shape stories from behind the camera as well?

I think it links back to me being a child actor. I grew up on sets, surrounded by all these people who were experts at their various crafts. I was in awe of them all, but didn’t really understand what any of them did. I wanted to understand filmmaking at every level, and I decided the best way to do that was to start making projects myself. While I was at University I helped out some friends on a couple of short films and then really got addicted. In the end, acting or producing, its all storytelling - it’s just different input & output.

With your short film Emiko Jones exploring a musical format across two languages, what interests you about projects that experiment with form or cultural perspective?

Emiko Jones got sent to me while I was filming the final season of Outlander. I remember thinking that I’d never read a short like it, and I had to do it. I knew it would be an ambitious short, especially on a low budget, but I just had to make it. Growing up I loved watching old school musicals, and I loved that this story was reclaiming that traditional genre for a more inclusive take. Bilingual films are becoming more and more popular, which I think is amazing. Being able to showcase different cultures in the mainstream is very important - and this film is all about feeling seen and understood, even if imperfectly. But for me the main draw to make this film, was the writer/director, Hanako Footman. She’s become a very close friend, and I think she’s a special talent. 

With Bedcrumbs approaching a failing relationship through queer comedy, what do you think humour can reveal about emotional situations that drama sometimes cannot?

Ross O’Donnellan the writer, is very good at black comedy and acerbic wit. His scripts fling dialogue back and forth like a tennis match. However, left in the wake of that humour is a very particularly sense of vulnerability. I think it’s well known that people use humour to deflect - whether that be sadness, insecurity, whatever! I think that the use of humour in this particular story, reveals more honesty of emotion than if it had been a straight drama. I always think it’s more interesting to let an audience figure out how they feel about something, rather than being told how to feel - and I think comedy is the perfect tool for that. Make them laugh, and then deliver a real gut punch.

As someone who moves between acting and producing, do you feel that one role changes the way you approach the other on set?

Definitely. I think now that I understand how a set runs, I can feel much more settled in my role as an actor. Sometimes it’s hard in the business of set to understand what’s happening - why we are delayed, why a camera change is taking a long time, why we’ve done 20 takes of the wide - and often in the not knowing you end up thinking it’s your fault - especially as a kid! It’s very freeing to understand when it is and isn’t you to blame. And then with producing, I’m made to think of the whole production from a perspective of serving the creative. It’s about the story, and telling it right. Rather than putting budget first, it’s always the creative for me (and also obviously coming in on budget!).

What kinds of stories or creative collaborations are currently exciting you the most as you think about the next phase of your work?

I’m looking to direct a short this year. It’s been on my mind for a while, and I feel like I’m ready to make that jump. I have another short I’m set to produce that we are currently seeking funding for too. But ideally I’d love to level up to something bigger scale. I’m not sure what that looks like yet. Maybe a feature? We will have to see. On the acting front, I’d love to do an independent feature. I think that’s where my heart lies as an actor and  as a producer. I started in films as a kid - long form TV has been an amazing learning curve, and I’d love to continue to do more - but I would really love to do a feature sometime soon.

talent   IZZY MEIKLE-SMALL
photography   BRENNAN BUCANNAN
styling   GRACE RADHAKRISHNAN
make up   NOHELIA REYES
pr   PROSPER PR

copyright LE MILE Magazine / Brennan Bucannan

Lamin Leroy Gibba On The Twins at Maxim Gorki Theater

Lamin Leroy Gibba Reframes Storytelling as a Question of Power and Inclusion

interview + written KLAAS HAMMER

Lamin Leroy Gibba stepped into the spotlight with „Schwarze Früchte“, a series he wrote himself and in which he also played the lead. Honest & Radical. „Schwarze Früchte“ is exactly that. With remarkable ease, it portrays what is still too often treated as an exception: queer and black lived realities.

Lamin wears a total look by Juun.J

Yet as effortless as it may appear on screen, the journey behind it was anything but simple. The series was the result of years of planning, patience, and an almost obsessive perfectionism - the kind of dedication only someone who truly feels their art can sustain. Sadly, the acclaimed show will not return for another season. But Lamin is far from standing still. Telling stories that create connection — between people, perspectives, and experiences. Yet despite his enthusiasm, he remains realistic about the industry. Representation is important, he says, but inclusion is even more important. “Who produces, who writes, who casts — all of that is crucial.” Diversity in front of the camera alone is not enough if the same decisions are still being made behind the scenes. “It’s about not only showing lived realities, but truly understanding them.”

Lamin wears a total look by GmbH

Klaas Hammer
Your new play The Twins is currently running at Berlin’s Maxim Gorki Theater. What is it about, and what kind of response were you hoping to evoke in the audience?

Lamin Leroy Gibba
The play centers on the murder between twin brothers and a screenwriter who becomes fascinated by the case. She wants to turn it into a film because she sees in it an allegory for structural violence. Beyond my interest in the characters themselves, I wanted to explore questions of truth and fiction — how both are constructed, artistically and socially. The play also looks at ideas around interpretive authority and regimes of perception.

With everything I make, I try to create spaces where audiences can engage with themselves and larger questions, while hopefully feeling both challenged and entertained by it. I’m not aiming for one specific reaction. Ideally, there are as many interpretations as there are audience members.

You were part of the “Jury of the Berlinale Talents Mastercard Enablement” at the Berlinale — what was that experience like for you, especially considering that you’re still very young and, in a sense, a talent yourself?

It felt very special to be part of this year's jury. The selected filmmakers are all building pathways for change within their communities, through educational programs, improving access to resources, or film production opportunities.

Meeting them and learning about their projects was a reminder of how naturally storytelling, organizing, and community-building intersect. Both the projects and the program itself also highlight the profound inequalities that many communities around the world are affected by.

What do you hope for in 2026 — personally and for society as a whole?

In a time marked by multiple global crises, I believe the work and voices of artists are evermore important. Storytelling and art have always been ways to reflect on the world, to question oppressive structures, and to imagine alternative futures. Showing up and engaging in that work to the best of my ability feels meaningful to me.

As for society — that’s a big question. I’m wary of sounding cliché. But in the face of increasing division and dehumanizing rhetoric, I think it’s vital to remind ourselves of our shared humanity. To stay curious about experiences and realities that differ from our own. Art — both creating it and experiencing it — can be a powerful tool in that process.

Lamin wears a coat by Juun.J, a blazer and pants by Karl Lagerfeld, and gloves by H&M Studio

photography   LEON NEVILL GALLAGHER
styling + words   KLAAS HAMMER
talent   LAMIN LEROY GIBBA
assistant   IVA COŞKUN
copyright LE MILE Magazine / Leon Nevill Gallagher for LE MILE Magazine

BILL KAULITZ — That’s Bill Kaulitz: Offline, Unfiltered, and Entirely Present

That’s Bill Kaulitz
Offline, Unfiltered, and Entirely Present

The Algorithm Has Left the Chat—Bill, a Pink Swimsuit, and the Real Headline


interview + written ALBAN E. SMAJLI

Something about Bill Kaulitz disrupts all expectations about fame, he moves with a kind of impulsive certainty, always spinning a little outside the expected choreography. Once the ringleader of a hair-gel-fuelled teen frenzy, he now fills his days with dogs, spontaneous notes, late-night Instagram DMs, the second season of Kaulitz & Kaulitz playing out on Netflix, and the kind of wardrobe decisions that started early—long before anyone was watching, when he swapped trunks for a friend’s pink swimsuit on a crowded beach, discovering the addictive thrill of attention before he had words for performance.

Bill wears total look by VERSACE

Bill wears a total look by VERSACE and shoes by SCAROSSO

If his closet could talk, it would offer up a mess of confessions about last-minute fashion choices, impulsive adventures, and those secret, tangled stories that happen only after the city has gone to sleep—always accomplice, each garment a collaborator in Bill’s ongoing refusal to blend in or apologize. Recklessness and vulnerability orbit together here, just as Bill embraces every emotion fully—choosing to feel loneliness, joy, and even loss in their sharpest forms, collecting experiences the way some people collect shoes.

Remove the endless scroll, mute the digital noise, and Bill remains someone searching for real connection, content to swap the feed for the company of friends, the calm of jazz, the comfort of champagne, and the gentle presence of his French bulldog, Alfia. There’s always another scribbled note or whispered Maus for the people who matter, secrets layered beneath eyeliner and tucked into diaries, never needing an audience, only the satisfaction of having lived every minute wide open. Bill drags his own weather with him, shrugs off nostalgia the way most people dodge last season’s trends, refuses to archive any version of himself unless it’s handwritten and hidden somewhere even the algorithm can’t reach. He exists in a loop of invention and desire, never looking back, never asking permission, just rerouting the atmosphere every time he walks into the room. Never watered down, never apologizing, so entirely present you half-suspect the world’s only just now learning to keep pace.


Bill wears a sweater and bag by HERMÈS, belts, gloves, and trousers by 032C, and shoes by SCAROSSO

Alban E. Smajli
If you had to live in a world without mirrors or cameras, how would you define your identity?


Bill Kaulitz
Just through instinct I guess! I've always trusted my instinct. Laughter too! I'm generally a very positive person. My biggest traits are being quirky, spontaneous and ambitious, I’d say. 


Do you remember the very first time a mirror winked back at you and said, “Yes, babe, this is it”? What were you wearing?


OMG. That could have been very early on. When I was about 5 years old and my mom took us to the beach, I decided to wear the pink swimsuit of my friend Katharina, instead of my boring trunks that every boy wears. So we swopped. I felt super alive and loved the attention from all the people starring at me. I always loved to stand out and break rules. I guess that started at a very young age.

If your closet could speak like a moody ex, what secrets would it spill about you?


That I don't doubt my fashion choices a lot, even if I maybe should. I don't think too much. I'm super fast and trust my gut when it comes to clothes. I'm really not a diva, even if sometimes i'd wanna be. It would probably also say that I've been in here with more than just one guy having sexy fun. When you're out of the closet it can be pretty fun to go back in ...hahaha.

How do you actually handle loneliness? The kind that doesn’t get filtered through reels or drowned in airport noise?

I don't! I give in to the feeling! I love to feel all the feels and loneliness can also make you feel alive. I think the worst feeling you can have, is to feel nothingness or jaded or numb. As long as you feel loneliness every once in a while, you know you are living and still have a fire burn inside you that has longing and a craving for connection and people. I gotta admit I'm doing pretty good on my own. I hardly ever feel lonely but I think that's because I have an identical twin. I even go on vacation alone all by myself. It's the best. 


Bill wears a sweater by 032C, a jacket and trousers by HERMÈS, and shoes by MARSÉLL

Bill wears a shirt by ARKET and a coat by JOSEPH

What do you think you would miss the most if there were no social media or mobile networks today?

The inspiration that comes from it. I'm a very visual person so I love photography, architecture, fashion and the access to all of it with just a fingertip. Also I would miss my number one flirting and dating tool. Haha. Cause I date mostely through Instagram.


If you could ghost one memory forever, digitally and emotionally, what would you delete?


The death of my two doggies. That was very hard on me. I'm an animal lover and my dogs were like my kids. The way they both passed was very sudden, way too early and unexpected. That's a memory that I'd like to forget. But I'm not one who lives with regrets, so I can't really think of anything else I'd like to forget.

How would you go about dating if you had to do it completely offline today?

I would probably party even more than I do now. I love to go out and meet new people through mutual friends or just strangers at a rave. I love to have a good drink at a bar and make friends. Thats the best! I also love house parties, birthdays and my favorite are weddings. I always end up with someone at a wedding.

Bill, imagine being offline without any technology or social media, how do you cope with just being alone with yourself?

Could I still watch TV?

Of course, TV is still offline

I love movies and old TV shows. Thats like therapy for me and calms me a lot. If I wouldn’t have a TV either I would probably lay out by the pool with a good bottle of champagne, listen to jazz music and play with my doggie Alfia. I adopted her a year and a half ago. Shes a little merle frenchie and my absolute everything.

When was the last time you wrote something with your actual hand? Like pen, paper, no autocorrect?

Not that long ago. I wrote a love letter to fashion for a big magazine very recently. I love writing by hand. I do it every day. I have a little scribble book where I write in every day. Just notes and stuff I can't forget. Also all the notes for my weekly podcast are always handwritten and I keep all of them..

Let’s imagine you had kept a diary in 2006, what do you think would surprise people most if they read a page from it today?

That I was hiding a lot of secrets and pain behind those perfectly smokey eyes.

Bill wears a total look by LEVI’S, a brooch by JW ANDERSON, a bracelet by HERMÈS, and shoes by MARSÉLL

photography   CHRISTOPHER PUTTINS
stylist   ARKADIUSZ SWIETON
hair & make up artist   PATRICK GORRA
set stylist   NICI THEUERKAUF
photography assistant   MORITZ HILKER
styling assistant   LEA ISABELL UHLE
copyright LE MILE Magazine / Christopher Puttins for LE MILE Issue 39 "OFFLINE", FW2025/26 Edition

Indira Varma On Characters, Control, and Creative Trust

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

interview + written ALBAN E. SMAJLI

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

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

Indira Varma wears a coat and dress by EDELINE LEE

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

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

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

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

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

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

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

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

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

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

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

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

Indira Varma wears a dress by PALMER HARDING

Indira Varma wears the Winchester coat dress by SUZANNAH LONDON

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

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

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

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

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

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

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

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

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

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

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

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

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

copyright LE MILE Magazine / Will Aldersley

SAMUEL WATSON — Discusses Career Formation, Pressure, and Long-term Orientation in Fashion

That´s How Samuel Watson Manages Pressure, Rejection, and Forward Momentum

interview + written CHIDOZIE OBASI

When it comes to fashion, the emergence of a promising new talent still carries weight. In an industry shaped by saturation and accelerating cycles, it takes discipline, persistence, and clarity to sustain attention.

Sam wears a total look by MOSCHINO

Following campaigns for Emporio Armani and Alan Crocetti, and most recently appearing as the face of Calvin Klein’s global underwear campaign, Samuel Watson continues to define his position within a system he has long been committed to. Yet visibility alone is not the endpoint. “I’m someone who deeply values having a home base, and the more I grow, the more owning a place of my own would mean the whole world to me,” he reflects, fully aware that professional affirmation rarely follows a straight line.

In conversation with LE MILE’s Fashion Director Chidozie Obasi, Watson discusses modeling, personal pressure, mental health, and the longer trajectory he is working toward.

Sam wears a total look by LORO PIANA

Sam wears a total look by ZEGNA

Chidozie Obasi
Could you kindly introduce yourself to us?

Samuel Watson
I’m Samuel Watson, aged 22 from Sydney, Australia.

Who were the biggest inspirations you had while growing up?

My biggest inspiration would definitely have to be my parents. They’re the hardest working people I know, and watching their dedication and resilience growing up really shaped how I approach life. I try to carry that same work ethic into everything I do, both personally and professionally. Another major source of inspiration came from the online fitness space. When I started high school, I was naturally very skinny and felt insecure about my body. That pushed me to dive deep into learning how to build and transform the human body. I became obsessed with self-education—reading, experimenting, and training consistently. Over time, it became not just a passion but a skill I still use today in my career as a model.

How did you venture into the fashion industry?

While I was studying psychology at university in Australia, my partner at the time was working as a model. I saw how much fun she was having and the incredible experiences she was gaining. When she suggested that I could model too, I decided to give it a shot. She referred me to her agent, who signed me—and from there, the rest is history!

What have been your biggest pinch-me moments so far?

The biggest pinch-me moment has to be my first Emporio Armani Underwear campaign. I had just returned from a week away at a music festival with friends when I got a call from my agent telling me I was flying to Milan in four days to shoot the campaign. I was absolutely ecstatic—this was my first major job. To make it even more surreal, a friend sent me a photo a few weeks ago showing my campaign image painted on the side of a building in the middle of Milan. Needless to say, I was speechless.

Sam wears a grey coat by CELINE, a blazer by BRUNELLO CUCINELLI, a shirt by BRIONI, and pants by DOLCE & GABBANA

Sam wears a total look by PRADA

How do you deal with rejection and downfalls?

Rejection is a constant in this industry. After nearly three years of modeling, I’ve become so used to it that it doesn’t really affect me anymore. From a professional standpoint, I never take it personally. If an option falls through, I shift my focus to what’s next.

I genuinely believe that setbacks are opportunities to grow. You pick yourself up, learn from the experience, and move forward stronger. Spiritually, I often take rejection as a sign from the universe that something else is meant for me.

In an industry shaped by complexities, how do you maintain positivity and protect your mental health?

Thankfully, I’ve managed to maintain a healthy mental state throughout my career. I credit that to keeping things simple—sticking to a consistent workout routine, eating nutritious whole foods, and living a balanced lifestyle, even while traveling. The fashion industry constantly puts you in situations where you need to make big decisions, and it can feel isolating since modeling is such a unique job. When I find myself stressed, I go for a walk and mentally play out scenarios. It helps me gain perspective and simplify whatever I’m facing.

What is your biggest aspiration right now?

Right now, my main goal is to grow within the fashion industry. I’m fully focused on modeling and excited by the momentum I’ve built so far this year. There are a few projects yet to be released that I can’t wait to share. Outside of modeling, one of my dreams is to own a small cottage in my hometown. I’m someone who deeply values having a home base, and owning one of my own would mean the world to me. It goes hand-in-hand with achieving success in my career, so I’ll continue working hard to get there.

Any final thoughts you’d like to share?

I’d like to thank the team for creating such an incredible piece of work and for the amazing experience I had throughout the process. It’s a true honor to be featured in the print issue of this magazine and to have collaborated with such a talented group of people. Honestly, this shoot pushed me out of my comfort zone. I’m naturally a pretty mellow person, so “going mad” in front of the camera didn’t come naturally. But with the encouragement and creative energy on set, I was inspired to step into the story—and together, we created something truly beautiful.

Sam wears a chequered skirt by INSTITUTION, a pleated skirt by JIL SANDER by Lucie and Luke Meier, jewellery by VOODOO JEWELS, shoes by SEBAGO, and socks by CELINE

Sam wears a blazer by GABRIELE PASINI, a black shirt by ALESSANDRO GHERARDI, a denim shirt by DIESEL, pants by ACT N1, and shoes by DR. MARTENS

photography   COSIMO BUCCOLIERI via STUDIO REPOSSI
fashion director + stylist   CHIDOZIE OBASI
head of production   JESSICA LOVATO
contributing editor   LUCA ROSEI
fashion coordinator   ALBERTO MICHISANTI
copy editor   EDWARD PUSCA
make up + hair   SARA BERGAGLIO via MKS MILANO using MAC COSMETICS
set designer   THALA BELLONI
model   SAMUEL WATSON via WW MGMT
photography assistant   ANTONIO CROTTI
fashion assistants    LORIS VOTTERO + CLOE RUBINATO + ANNA REGGAZZONI + MARTINA MANENTI + ALESSANDRA DI MUGNO + ANGELICA GUAMAN + REBECCA ASTORINO
copyright LE MILE Magazine / ACosimo Buccolieri

Christine Adams Talks Restraint, Exposure, and Endurance in Hijack 2

CHRISTINE ADAMS

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

interview + written ALBAN E. SMAJLI

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

a word that captures season 2

Nail-biting

a feeling you hope the audience carries away

The Human spirit can overcome anything.

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

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

Christine Adams wears a dress by JENNIFER MILLEDER

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

copyright LE MILE Magazine / Ian Kobylanski

The Refusal to Stay in One Role With Ben Radcliffe

BEN RADCLIFFE

—Rebellion, Reflection, and the Roles in Between

interview + written ALBAN E. SMAJLI

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

Ben Radcliffe wears VALENTINO

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

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

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

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

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

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

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

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

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


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

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

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

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

behind the scene

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

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

All of the above.

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

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

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

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

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

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

What’s your weirdest ritual on set?

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

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

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

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

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

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

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

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

copyright LE MILE Magazine / Antonio Eugenio 2025

The Rhythm of The Family Plan 2 With Reda Elazouar

Reda Elazouar on Omar, Prep and The Family Plan 2

interview + written ALBAN E. SMAJLI

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

REDA ELAZOUAR wears full look AMIRI

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Away from set life, what keeps your imagination awake?

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

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

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

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

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

credits
talent REDA ELAZOUAR
thanks to AMBER MOTTO / AMPR

seen DAVID REISS
styled HOLLY WHITE
grooming CHARLIE CULLEN