
Sandra Hüller in Rose.
The Match Factory/Courtesy Everett Collection

Justine Lupe has made an art out of scene-stealing. And not in the usual way, not by being showy or pushy or big-footing her way into something. The actress simply makes every scene she’s in — from “Succession” (two SAG Ensemble wins) to “Mr. Mercedes” to her current work on “Nobody Wants This” — better by way of her natural good humor, her ability to take the most outlandish bits and make them feel decidedly human. She delights in working with other actors. She is thoughtful about good writing. She wants to make everything better, and somehow, that seems like half the battle.
She is also just — and this cannot be overstated — so easily funny. Well, at least it looks easy. Maybe that’s why, when she unpacks the big emotional guns, it hits even harder.
When we first met Lupe’s Morgan Williams in Season 1 of creator Erin Foster’s smash hit Netflix series “Nobody Wants This,” she made for an excellent foil and reliable ride-or-die for her big sister and podcast partner Joanne (Kristen Bell). Acerbic and funny and not at all afraid of calling out Joanne’s shit, the sisters were based on Foster and her own sister, Sara. Lupe still recalls what grabbed her about those early scripts.
“Erin somehow managed to find this fine line of very biting, kind of dry, a little dickish, bratty humor, while also having so much heart running through all of it,” Lupe told IndieWire during a recent interview. “It was very clear that these sisters love each other and have this kind of rivalry and banter going on, and that comes out in all their dialogue. I liked that I could hear her voice and that it had these two tones that lived in equal measure. I hadn’t really experienced that before. I could feel how familiar Morgan was to Erin.”
Lupe laughed. “Then, immediately upon looking into who Erin Foster was, I was like, ‘Oh, yes. I was correct,’” she said. Lupe binged the Fosters’ own podcast and “kind of dove into the archive of everything that they’d put out there.” Morgan felt real because she is or, at least, she is rooted in someone very real and very beloved by Erin.
But Lupe was eager to make Morgan her own, pushing her take on the character to get “way more messy” and “a bit more kooky.” “I kind of hijacked Sara and made her into my own, but I still reference her,” she said. “That kind of forward-facing fun that Morgan and Joanne have with each other, a little bratty and bitchy, that’s very much Sara and Erin’s dynamic. I always turn back to that when we’re doing the podcast scenes. But I’m a little bit more sloppy and loose than Sara. Sara’s this amazing specimen, and I’m just, as Justine, a little bit more of a rat. Some of the poise and the chicness that she carries, I try and bring that, I just have a different vibe to me, I think I have to work hard to get into her posture.”

In the series’ second season, Lupe dove more into Morgan’s emotional state and what really makes her tick. She’s not just a sidekick or second fiddle, and she’s far more self-aware than she might have first seemed.
“There’s definitely a mask that Morgan has, and I’m not saying that Sara has a mask, but she feels very self-aware, she feels like she understands, she’s grown up in a public-facing way,” Lupe said. “She’s been in the entertainment business for a while. She really understands her relationship with the public, and so I took that feeling to Morgan. I think Morgan’s always aware of people watching her, how she’s being perceived, and so there is a bit of a mask that she wears, and it comes down in moments of vulnerability. Especially in the last season, I tried to keep that, that she likes feeling curated as much as possible.”
In the series’ second season, Morgan gets a hell of a subplot. While so much of the rom-com series is built on the ups and downs of Joanne and Noah’s (Adam Brody) seemingly mismatched romance, giving Morgan her own romantic upheaval seemed like a natural next step. Her sister is in love; why shouldn’t she be?
But, in true Morgan fashion, she zigged where everyone else might have zagged: by dating her own therapist, Dr. Andy (her “Succession” co-star Arian Moayed). What seems right and good to Morgan? Well, it feels insane to everyone else.
“I thought it was really fun and funny, but as we kept on going, and honestly, when I watched it, I realized how sad it is too. It snuck up on me,” Lupe said of Morgan’s Season 2 subplot. “At the time, I was like, ‘Oh, this is such a fun storyline that she falls in love with her therapist, introduces him to the family!’ and then the ending hits where she’s like, ‘OK, I’ll go back on the apps. I didn’t want to do that.’”

As the story unfolded, Lupe was struck by the very real (and very relatable) concerns that fueled Morgan’s romantic choice. Some of it goes back to Joanne finding love, but most of it is Morgan finally allowing herself to realize that her life has changed in ways she didn’t want it to.
“You realize the reality is, this is a woman in her late 30s, who’s feeling like she’s behind, and is desperate to find something that feels like real intimacy with someone,” the actress said. “The person that she turns to is her therapist, and she fast-tracks this ludicrous relationship, because she’s scared that she’s going to not find what her sister found, and she’s going to be alone. It’s weird that I didn’t think about that [right away], how this is really relatable and kind of an intense thing that a lot of my girlfriends are going through. It started out as this very fun, goofy storyline, and then by the end of the whole process, I was like, ‘Ugh, Morgan. Poor Morgan.’”
So, in Lupe’s mind, how much of Morgan’s life, particularly her romantic one, is rooted in comparing herself to Joanne? To Dr. Andy? To Noah?
“The way I find my way into it is my own feelings, that it’s less an intellectual ‘This plus this equals this,’ it’s more just a heartsickness when your girlfriends change,” Lupe said. “They’re evolving into a different place in their life. [Morgan is] still in the place where they were having slumber parties together, hanging out, going out. I know that feeling so well, because I have very codependent relationships with my girlfriends, and I’ve been the person to [move on] and I’ve also been the person that feels left behind by a friend moving into a next phase of their life.”
Morgan might not be willing to tell herself all that, but she’s feeling it throughout Season 2, and that’s where the Dr. Andy stuff came from. That’s how Lupe sees it, and she’s certainly on to something here.
“It’s like a body feeling. It’s a heartbreak of a kind,” the actress said. “You’re so excited for them, and at the same time, there’s a visceral feeling of like, ‘Oh, the change is happening, and that’s hard.’ You have to renegotiate who you turn to, how you turn to them, what level of support they can give, and what level of fun you guys can have. Morgan, there’s a lot of intellectualizing in terms of them having these conversations, where she’s kind of picking on Joanne or toying with Joanne. There’s a little bit of the train running off the track and her spinning out, and this is the way that she handles it: ‘I’m going to start dating the guy that “knows me” and find some sort of an anchor. This is something to hold onto.’”
It’s not.

The season culminates with a big, splashy engagement party for Morgan and Dr. Andy at, of all places, the Academy Museum of Motion Pictures (“Crazy! One of the most expensive engagement parties known to man!,” Lupe exclaimed). But it’s not just a party, it’s also the location of Morgan finally breaking up with Dr. Andy. What timing!
“I just had a conversation with someone who had an experience like this, where a friend of theirs had sex with one of the bartenders at their wedding, and then [she still] got married and they soon broke up. It’s this kind of, oh, everything comes out in the wash, and if you’re not ready to do it, shit happens,” she said. “When you’re right up against the reality of what you’re doing, if it’s not aligned, things can get a little bit crazy. For me, it’s totally unhinged, and it would be something that I would live with forever, but I’m also shocked at how often I’ve heard stories of this kind of thing happening.”
Joanne knows Morgan doesn’t want to marry Dr. Andy, and when she tells the sisters’ parents, it’s their mother, Lynn (Stephanie Faracy), who steps up. She grabs a dazed Morgan, plies her with a big drink, and hits her with some pretty hard truths about her own ill-fated marriage. It works. Morgan snaps out of it and dumps Dr. Andy under a perilously large flower arch. I told Lupe that I felt, even as a viewer, very proud of Morgan in that moment.
“Totally, and I’m proud of Lynn, I’m proud of her mom for being like, ‘Girl, wake up,’ and having some real transparency about her relationship with her dad and how she wished she had done things differently,” Lupe said. “We’ve never really seen that. These are girls who have very codependent and interpersonal relationships with their parents, but there’s not actually full transparency or real intimacy with them, so I feel like it was a real moment for Lynn to come out and be like, ‘Hey. You deserve to feel this.’”
The Dr. Andy subplot also gave Lupe the chance to feel Morgan out in a different kind of romantic relationship. In the first season, Morgan’s bond with Noah’s brother Sasha (Timothy Simons) was so delightful and sparky that many wondered if the leads’ siblings were bound for their own relationship. Lupe said her bond and chemistry with Simons was immediate, and the pair are now close friends even outside of the show.

But the possibility of a Morgan and Sasha relationship was controversial in the fandom, mostly because Sasha is already married (his complicated romance with Esther, the also-delightful Jackie Tohn, got its own heady subplot this season). It’s also something the actors thought about a lot.
“I think the question of it was, ‘What is this chemistry? Is there a name to it, or is it just this kind of ambiguous, somewhere on the spectrum of friendships, romantic kind of attraction? Where does it lie?’” she said. “That was something that we were always trying to track, and many times with no answer in sight, which I think makes it more interesting. But I had no trouble having chemistry with Tim; he could have chemistry with a sack of potatoes. He’s just available, excited, curious, and just a very easy person to connect to.”
With the possibility of romance between Morgan and Sasha excised in Season 2, Lupe hailed the evolution of the pair’s bond.
“I liked the way that it evolved into something with that same underlying companionship that was in the first season,” she said. “But when the sexual tension was off the table, it became more of just us relating to each other and being vulnerable with each other in a way that neither of us really are with other people in our lives. It kind of carried the essence of what was there before and deepened it a little bit, it wasn’t as naggy or as kind of flirty, and it felt a little bit more like direct connection and direct vulnerability.”
Trying to find other examples for that bond proved difficult, Lupe said. When I offered up Joey and Phoebe on “Friends,” Lupe answered with a confession. “I haven’t seen ‘Friends,’ believe it or not. I know! I know. It’s terrible,” she said. “It’s one of those things where it just feels so insurmountable at this time.”
Funnily enough, this season of “Nobody Wants This” felt closer to an ensemble series like “Friends,” with everyone getting their own juicy little subplots (again: Dr. Andy and Morgan, Esther and Sasha).

“With the rom-com structure, there is a beginning and an end, and in order to sustain it over multiple seasons, you kind of have to expand out into the ensemble in order to keep it alive,” Lupe said. “There wasn’t a specific conversation that we had with the team, where they were like, ‘We’re going to give you more real estate,’ but it was exciting to see that they were playing around with our characters a little bit more. I’ve done a lot of these kinds of supporting parts, and I’ve just never been given this amount of real estate. This is a different thing, and it felt really exciting.”
Still, at the core of the series is Morgan’s relationship with Joanne. That’s the big love story of her life, at least for now. Asked about her relationship with Bell off-screen, Lupe beamed.
“She is someone who’s like, she’s on set, and then she’s deeply entrenched in her family. I’m a similar person,” Lupe said. “I feel really comfortable with her. I feel really familiar with her. I feel like I can be completely transparent with her about anything that I’m dealing with. There have been, truly, times where I’ve literally thought, ‘What would Kristen do in this moment?’ because she’s just so patient, fun, and thoughtful about the way that she parents and is also just a real team leader on set.”
She added, “There’s a relationship there that’s a substantial one, but it’s not like the kind of thing where we’re hanging out all the time in the way that Tim and I and our spouses all hang out, but it’s very familiar and I think that that translates.”
Bell also goes to bat for Lupe the way a real sister might, and the actress pointed to an experience she had with her co-star right before shooting on Season 2 kicked off.
“I had a movie that happened right before we did the second season, and it was basically overlapping with the season,” Lupe said. “And Kristen went above and beyond, and called everyone on set to push production a week, and was like, ‘We need to do whatever we can to make this possible for Justine’ because it was the first time that I’d ever had a leading role as a female in a movie. That’s something she didn’t have to do, and it was incredibly moving to me.”
Coming up in Season 3, a new co-star: Erin Foster herself, who is playing a currently undisclosed role in the series she created (loosely about her own life!).
“She’s clearly very excited about it, and she picked a part that’s really appropriate for her to be doing,” Lupe said. “The thing that I was most moved by was just how high the stakes were for her. She was really concerned about doing a good job and really wanted to memorize the crap out of it and make sure that she was super-prepared, asking for tips, and asking for coaching from Kristen. I didn’t get to see it, but I did hear that she was really great and really fun, so I’m really excited to see it.”
Is there anything else we might get out of her? Another romance for Morgan, maybe?
“I can’t tell you anything,” Lupe said with a laugh, before literally closing her lips, a natural bit of physical comedy from the actress. “I’m telling you! No, I can’t say anything. I want you to be totally surprised. I was kind of shocked that Erin even said that she was going to be on the show. So, I’ll stay tight-lipped about it, but what I can tell you is — and [the showrunners] have been very open about it — they wanted the feeling of this season to be champagne. They want it to be fun and lively, and so that’s the only kind of clue that I can give, is champagne.”
Here’s to more Morgan.
Season 1 and Season 2 of “Nobody Wants This” are now streaming on Netflix. Season 3 will be released later this year.
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Italy’s Fandango Distribution has acquired Sine Plambech’s Rescue for all rights, including theatrical release, The Hollywood Reporter has learned.
Radio Télévision Suisse (RTS) has come on board as a broadcaster, joining pre-sale partners DR, VPRO, SVT and NRK, in deals negotiated by Vienna-based Autlook Filmsales, which handles worldwide sales on the film.
The agreements land as Plambech, serving as president of the documentary competition jury at the 22nd Zurich Film Festival, presents the European premiere of Rescue in the festival’s Now/Future section this week.
Rescue tells the story of Roro, a Yemeni mother of young children fighting to reunite her family after a Mediterranean rescue operation left her separated from her husband and held in captivity in Libya. Filmed with rare access aboard Doctors Without Borders’ Geo Barents, the documentary examines the fallout of Europe’s “externalization” of migration control to North African countries, tracing one woman’s fight for justice, dignity and the right to be seen amid a broken system.
The film is written by Plambech and Janus Metz, and produced by Elk Film’s Andreas Dalsgaard, Sofie Husum Johannesen, and Tereza Šimíková. Troels N’koya Jensen is the cinematographer, with editing by Per K. Kirkegaard and Marion Tuor and music by Uno Helmersson. Running 80 minutes, the film is in Arabic, English and French with English subtitles.
Rescue had its world premiere at TIFF and screens in Zurich’s Now/Future section, which this year features nine films exploring human rights, social conflict and sustainable development. Presented in collaboration with the EurAsia Heart Foundation and Dementia Research Switzerland, the section highlights figures committed to equality and social justice alongside perspectives on ecological, social and economic questions for the future.
Plambech is currently heading up the doc competition jury in Zurich. She is an award-winning director, anthropologist and senior researcher at the Danish Institute for International Studies (DIIS). Among other things, she directed Mission Trafficking (2010, in collaboration with Judith Lansade) and Becky’s Journey (2014), and provided the research foundation for From Thailand to Thy (2008) and From Thy to Thailand (2008), both directed by Janus Metz.
Her major breakthrough, Heartbound (2018), which built upon the two films from 2008, had its world premiere at TIFF, was selected for IDFA, and won the Golden Eye Award for best international documentary at the Zurich Film Festival that year.
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If you pay any attention to the BBC, you will know Britain’s national broadcaster is on the horns of a funding crisis.
We know this because the BBC keeps telling us. Director-general Matt Brittin has told staff that the “cupboard is bare.” He has told Parliament that the BBC’s current funding model, the licence fee, is a “busted flush.” He told BBC viewers on Sunday that the corporation is in a “tight financial situation.”
And when the BBC is not telling us, it is showing us by cutting thousands of jobs, canceling shows, and threatening to close services. The drip-drip of cuts announcements is like a marketing campaign counting down to BBC doomsday.
Luckily for the BBC, there’s a potential solution: It’s called charter renewal. Every decade, the broadcaster sits down with the government and thrashes out its future, agreeing its funding for the years ahead, and making detailed decisions about its governance and operating guardrails.
And it just so happens that the BBC and the government are in the thick of charter renewal negotiations as you read this. Behind-closed-doors meetings between the BBC’s policy team and Department for Culture, Media and Sport (DCMS) officials are happening every week. Brittin is engaging regularly with Lisa Nandy, the culture secretary. There is lots of talking going on.
In public at least, the BBC and new Prime Minister Andy Burnham’s administration are singing from the same hymn sheet. The BBC wants to ensure that the 94% of Brits consuming the BBC are actually paying for it. Nandy told BBC News this month that she wants to put the corporation on a “sustainable footing.”
But here’s the rub: Neither the government nor the BBC have wholeheartedly set out their preferred way of achieving this ambition, leading to what Deadline hears is growing unease on both sides about a lack of vision for the BBC’s future.
We can rule out some things pretty confidently, including full ad or subscription funding. Never going to happen. What about a household levy? This would basically involve adding a tax to a utility or broadband bill. The BBC quite likes this idea, but ministers have explicitly ruled it out on the grounds that a new tax would be unpalatable (not to mention politically toxic) in a cost of living crisis.
This shrinking field of options increasingly points in the direction of tinkering with the £180 ($240) licence fee. There is an old joke in UK media that reviews of BBC funding nearly always result in the same conclusion: The licence fee is the least worst option.
But quite what this tinkering looks like, and whether it will achieve the shared aim of safeguarding the BBC, remains to be seen. The main idea under discussion is extending the licence fee to include non-live content on commercial streaming services.
What does that mean in practice? Well, at the moment, you can watch The Gentlemen on Netflix without being legally obliged to pay the licence fee. Ministers and the BBC are now discussing plans that could incriminate you for watching MobLand on Paramount+ without paying your cut to the BBC. Shows not made by Guy Ritchie would also be included.
Closing the streaming loophole may seem an elegant solution in theory, but it is complicated in reality. The BBC is struggling to enforce payment of the licence fee as it is, and the tools at its disposal, including pursuing convictions, are regressive, hitting lower-income households and women hardest. Netflix carrying pop-up ‘PAY YOUR LICENCE FEE’ notices (a genuine BBC suggestion) is not going to cut it.
To get around this, Nandy has floated the idea of charging consumers extra for their subscription streaming services. A BBC levy on your monthly Disney+ bill, if you like. She acknowledges, however, that this is unlikely to be popular with U.S. streamers, who are quick to make noises about pulling back their UK investment when they see barriers to growth.
Nandy has also spoken about allowing the BBC to top up its public funding with commercial revenue, including monetizing archive content or enabling the corporation to carry ads around its podcasts on platforms like Spotify or YouTube. But again, Nandy has been reluctant to fully embrace these proposals.
Ultimately, it will likely be the Treasury, rather than the DCMS, that calls the shots on funding questions, but time is running out to push through the thorny reforms under discussion.
It means that, with 15 months until the current BBC charter expires, the broadcaster has no clarity about its finances beyond next year. During the last round of charter negotiations, the BBC struck a funding deal with David Cameron’s government 18 months before its operating agreement ended. Nandy recently described that deal as “appalling,” but has declined to commit to an alternative.
Instead, we have a vacuum. Private talks and a paucity of public information. We may hear more from BBC boss Brittin at the Royal Television Society London Convention on Tuesday, but no minister will speak at the important industry gathering because of the Labour Party conference in Liverpool. And so the limbo lingers.
As one BBC watcher in Westminster puts it, both sides have been “as bad as each other” in their approach to the charter process. “As much as this government isn’t the best when it comes to making decisions about anything, it’s not clear to me what the BBC’s vision is for itself,” the lawmaker explains. “It’s a longstanding problem, and in the past the BBC usually stood to benefit, as the result would be status quo. The danger now is that the status quo just accelerates [the BBC’s] decline.”
Nandy has promised to publish the government’s position “soon.” For the BBC, which is gearing up to announce another gruelling round of cuts over the coming days, it can’t come soon enough.
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In their conversations leading up to the making of Rose, star Sandra Hüller and director Markus Schleinzer worked hard at fine-tuning their eponymous 17th-century hero. Hüller was to play a woman disguising herself as a male soldier in the aftermath of the Thirty Years’ War, ingratiating herself in a small Protestant village. She considered preparation routines like strength training, before setting them aside as anachronistic; she agonized over keeping things as believable as possible. “She was wondering, ‘What should I do with my voice — should I lower it?’” Schleinzer recalls. “Then we started to laugh because then we found out that my voice, as a man, is higher than her voice as a woman. It would be a weird thing for her, to lower her voice to pretend to be a man, for a male director who has a much higher voice than hers.”
The anecdote offers some amusing insight into the dynamic between Schleinzer and Hüller, which remained deeply playful and collaborative over the years it took to get Rose made. Yet it also speaks to the ultimate mastery of Hüller’s portrayal here, which never goes for the easy or obvious choice. In a career full of decorated performances, this ranks among Hüller’s very best, a moving, wondrously strange embodiment of a survivor in constant, subtle hiding. Below, you can watch the exclusive trailer for the film for a first look.
Rose premiered at the Berlin Film Festival in February, where Hüller won the Silver Bear for best lead performance. The star then went on to receive a Tribute Medallion in Telluride earlier this month, where the movie made its North American premiere; now, it’s making the rounds in New York. “Rose is another extraordinary showcase for her gifts and a master class in the art of acting with rigor, honesty, physicality and zero showiness,” wrote THR chief film critic David Rooney of Hüller in his review.
Schleinzer first had the idea for Rose on his birthday, when a friend told him that 250 years ago to the day, a woman had been executed for being caught living her life as a man. The Austrian filmmaker and former casting director, who came up under the legendary Michael Haneke, became obsessed with the story and researched hundreds of other examples, from decades before and after. He saw them speaking to the current climate of fear felt by various marginalized communities. “Every life, every day is a political act — so we cannot hide,” says Schleinzer, who is queer. “We have to change things if we want to have a better life as a community.”
Already at work on the script, Schleinzer then met Hüller on the set of the 2023 German black comedy Sisi & I — as her co-star. “I was really bad in this movie because I was so keen to watch Sandra firsthand — I already had started writing Rose and started stalking her, watching all the things she was ever in, even the tiny television spots she had at the beginning of her career.” He later sent her the script, which was written in prose, more akin to a novel; she jumped at the challenge.

Sandra Hüller in Rose.
The Match Factory/Courtesy Everett Collection
When asked what surprised him about Hüller’s approach to the role, Schleinzer points to a viral red-carpet clip of the star describing her process in straightforward terms — “I really have to disappoint you, it’s not so much: I learned the lines” — in noting that what results from that is anything but simple.
“I was a casting director for 17 years and I always had the feeling that my main job was to get people out of being afraid, of having fear or discomfort — there is this type of actor who loves to talk, because talking means that they do not have to act, they can just talk, talk, talk, talk,” the director says. “Sandra is the complete opposite. She is someone who gets easily bored, so no take is the same: ‘Now I’ll become a little more boyish,’ ‘Now I’m the soldier.’ I had the big problem of choosing how to build up a character for the audience, then — but this was surprising, to see such life come alive in front of your eyes on the set every day.”
Shot on location near the East German border with original sets, scouted by Schleinzer through hours of hiking, the film boasts a handmade quality in Gerald Kerkletz’s black-and-white cinematography, the exacting makeup and costume work and the dry humor that allows the absurdity of certain situations to breathe — even as Rose hurtles toward profound tragedy. “My intention was to make something more about these days we are in than just a museum piece with some nostalgic images,” Schleinzer says.
Rose premiered this past weekend to more raves at the New York Film Festival, and will be released in North American theaters by Mubi on Dec. 11. The project started shooting less than two weeks after the end of Hüller’s campaign for Anatomy of a Fall, which netted her a best-actress Oscar nomination — and shot in small increments over many months from there. This could be the project that brings her back to the Oscars, although her greatest competition may be herself: She’s also terrific as the lead of Cannes-winner Fatherland, also a Mubi release, and plays key supporting roles in Project Hail Mary and Digger.
But within the scope of Hüller’s filmography — really, any actor’s — Rose feels special. “Sandra said I should not threaten people, but I have watched her career for the last 20 years and I’ve seen so many prizes taken away from her,” Schleinzer says with a grin. “If she’s not going to be nominated for this one, I’m going berserk.”
Check out the official poster below.

Rose poster.
Mubi
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