As an actor, Rebecca Corridor is eternally tuning in to the hard-to-catch frequencies and day-to-day idiosyncrasies that make folks, folks. In 2024, she starred in Janicza Bravo’s eerie drama The Listeners, enjoying a trainer whose life unspools as she begins to listen to a low, pulsating sound that no person else can. This yr, she starred in Ira Sachs’s Peter Hujar’s Day, an intimate snapshot of Seventies New York that recreates a real-life dialog between author Linda Rosenkrantz (Corridor) and photographer Peter Hujar (Ben Whishaw) over the course of a day. This tender and magnetic film—about friendship, reminiscence, and the spectre of a generational inventive scene—racked up 5 nominations on the forthcoming Impartial Spirit Awards, promising good issues for the awards season forward.
Over the previous yr, Corridor has remained simply as attuned and much more busy; this month she seems in James L. Brooks’s political dramedy Ella McCay with Emma Mackey, Jamie Lee Curtis, and Ayo Edebiri. She’s additionally stepped into Ryan Murphy’s flamboyant and expansive universe with a task within the subsequent season of Monster, about Lizzie Borden, and an element reverse Evan Peters in The Magnificence. (The duo play FBI brokers who, whereas investigating a string of grotesque supermodel deaths, uncover a sexually transmitted illness that’s making folks extra stunning—with horrifying penalties.) At the moment, Corridor is toggling between a stack of recent scripts and mulling her subsequent steps, whether or not that’s choosing up her oil paints once more or directing one other characteristic. Following her acclaimed directorial debut Passing, Corridor has plans to make a mother-daughter drama known as 4 Days Like Sunday, impressed by her personal life; it is going to deal with a 12-year-old woman navigating her relationship together with her mother (Corridor), a fading Broadway star. Her latest exhibition at Half Gallery, which options items pulled from totally different eras of Corridor’s life, has additionally practically bought out.
“I’ve a broad palette,” says Corridor with a shrug, chatting with me from Los Angeles. It’s a sentiment that applies as a lot to her numerous creative mediums as to her latest sartorial swings: She nonetheless finds it amusing that the Thom Browne trompe l’oeil robe she wore to the Academy Museum Gala satisfied half the room that she’d painted her personal torso. “I imply, it was potential! Folks had been me, fairly shocked. However, no, truly, I’m extra dressed than you might be proper now,” she remembers with a depraved smile.
Under, Rebecca Corridor checks in with Vogue about impartial movie-making and “dodo” movies, pushing herself with model, and the easy act of listening.
