V85

ARTICLE ASHLEY SIMPSON

PHOTOGRAPHY PHILIPPE VOGELENZANG

STYLIST BRANDON MAXWELL

CREDITS ARTICLE CONTENTS

#NYFF REVIEW: ONLY LOVERS LEFT ALIVE

animal magnetism

JULIA GARNER

EXTRA CREDITS

Makeup Kristin Gallegos for Laura Mercier (CLM)  Hair Wesley O’Meara for Bangstyle (The Wall Group)  Manicure Casey Herman (Kate Ryan Inc.)  Digital technician Toto Cullen  Photo assistants Pavel Woznicki, Janneke De Jong, Mark J. Davis  Stylist assistant Hayley Pisaturo  Location Neo Studios

MORE TO LOVE

LIANA LIBERATO FROM THE SIDELINES GRACE JONES BY JEAN-PAUL GOUDE THE ART OF BEING KIRSTEN DUNST

JULIA GARNER

PHOTOGRAPHY PHILIPPE VOGELENZANG
FASHION BRANDON MAXWELL
TEXT ASHLEY SIMPSON

JULIA GARNER MAY LOOK ADORABLE, BUT DON’T LET HER PORCELAIN FEATURES FOOL YOU. HER LATEST ROLES INCLUDE A CANNIBAL, A PROSTITUTE, AND A STRIPPER. EAT YOUR HEART OUT AMERICA 

Nineteen-year-old New Yorker Julia Garner has only been acting for three years, but given her packed résumé, one would think that she’d been at it for ages. She made her feature debut in 2012 as a vunerable cult member in Sean Durkin’s career-making drama Martha Marcy May Marlene, then scored the lead of Rachel in Rebecca Thomas’s Electrick Children, channeling a pregnant Mormon youth on the run to Vegas. “I auditioned on Monday, by Wednesday I got the job, and by the following Tuesday we were already filming the movie, in Utah,” recalls the blue-eyed, baby-faced ingenue in between sips of hot cocoa. “So I didn’t have a lot of time, and I just focused on the situation that the girl was going through.”

This straightforward, disarmingly candid approach to the craft (no Method acting or grand pretensions here) is fast becoming the actress’s signature. “It started out as a hobby,” she says of her trade. “I did some acting classes when I was 15, because I was shy, and I just really liked it, a lot.”

With her snow-white skin and pure-of-heart intentions, it’s only fitting that Garner has been cast as some pretty macabre characters. This October audiences will see her in a meaty role, that of a reluctant teenage cannibal, in director Jim Mickle’s slow-burning horror flick We Are What We Are, which caused quite a stir at Sundance. “It was terrifying,” says Garner. It’s not a typical horror film. That shoot was a lot of fun too.”

Next up? A 20th-century prostitute (opposite Michael Pitt, in the period drama You Can’t Win) and a stripper (in the much-anticipated Sin City: A Dame to Kill For). In the latter, “I befriend Joseph Gordon-Levitt’s character and we have a night out on the town, and it’s a good one, and then, you know, something bad happens to me…so it ends up being really bad.

“The past year has been crazy, but I love it,” continues Garner, who started working and traveling alone after her art-teacher dad and therapist mom gave her the go-ahead, when she was 18. “Now it’s just kind of a waiting game. It’s weird. People always say, ‘What’s your dream part?’ I don’t have a dream part. I just try to do roles that stretch me, that really…give me something to learn. You get to imagine. I’m very lucky.” 

EXTRA CREDITS

Makeup Kristin Gallegos for Laura Mercier (CLM)  Hair Wesley O’Meara for Bangstyle (The Wall Group)  Manicure Casey Herman (Kate Ryan Inc.)  Digital technician Toto Cullen  Photo assistants Pavel Woznicki, Janneke De Jong, Mark J. Davis  Stylist assistant Hayley Pisaturo  Location Neo Studios

MORE TO LOVE

LIANA LIBERATO FROM THE SIDELINES GRACE JONES BY JEAN-PAUL GOUDE THE ART OF BEING KIRSTEN DUNST
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