Francis Ford Coppola has been working on Megalopolis for longer than its leading lady, Nathalie Emmanuel, has been alive. This week, the long-gestating sci-fi epic premieres at the Cannes Film Festival, marking a major career milestone for them both: while Coppola, 85, has spent a rumoured $120 million of his own money bringing the project to life (courting some controversy along the way), Emmanuel, 35, is on the verge of a major breakthrough after years as a memorable supporting actor in some of the most recognisable franchises (Game of Thrones, Fast and Furious) of recent years.

“I almost feel like I’m unqualified to speak about the life of this film, because it’s been a full 40 years in the making,” Emmanuel tells Vogue from London ahead of her arrival in France. For the British actor, this moment, as the film gears up to meet its first audience, is both “exciting” and “nerve-wracking”. It’s been nearly five years since she first met Coppola to discuss the ambitious scope of Megalopolis and her involvement in it, yet very few people know anything beyond its very basic plot description: an architect tries to rebuild a utopian city called New Rome after a disaster destroys it.

The experience of making Megalopolis was unlike anything Emmanuel had done before – and it undoubtedly marked a jumping-off point for the kinds of prestige projects that could change the course of her career. Here, before Megalopolis’s world-premiere screening on 16 May, she shares how she became involved in the film, the details of her character, and what going to the Cannes Film Festival means to her.
Is this your first time going to the festival?

It’s not – I actually went to Cannes in 2018 when they screened a short film that I produced, and I went to a couple of screenings too, but this is my first time going as someone who is in the official selection. It’s slightly surreal. Watching [movies] on that epic screen was kind of amazing.
Everyone’s extremely excited to see this film after so long. How have you tried to describe it?

[Coppola] is not a conformist by any means, and I’ve never seen anything quite like this before. It’s really trying to break barriers and ask big, bold questions. It’s a very artistic and experimental movie.
Let’s go back to the beginning. How did you get involved with it?

[Coppola and I] had an initial meeting that was very informal, and then the pandemic happened. When it did kind of come around again, towards the end of 2021, I ended up having a Zoom with Francis. We played, like, a theatre game, and he asked me to choose a line from a song or a movie, then he just said, “Okay, say it in all these different ways…” Like the punchline of a joke, or like you’re breaking bad news to somebody. We talked about the script, and he told me a bit about the character, and then I got the call to say that they’d like me to do it.
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It’s been just a few hours since Nathalie Emmanuel has seen Francis Ford Coppola’s Megalopolis for the first time, and she’s settling on the right words to describe the experience.

“It’s like nothing I’ve ever seen,” says the actress, talking over Zoom from London in late April, as she pauses for a second to collect her thoughts.

Coppola’s epic, which will have its red carpet world premiere at the 2024 Cannes Film Festival, casts Emmanuel in a starring role opposite a stacked ensemble that includes Adam Driver, Giancarlo Esposito, Aubrey Plaza, Shia LaBeouf, Dustin Hoffman, Laurence Fishburne and Jason Schwartzman. “The movie feels like a real call to arms,” she says. “It asks big questions. In spite of all the horrible, hard and devastating realities of the world that we live in, how can we make it better? It feels like there’s hope or a possibility for something better.”

And there’s nothing quite like Megalopolis’ wild backstory. Coppola self-financed the $120 million experimental epic that has been ruminating in his mind for four decades. On the eve of the film’s big reveal in Cannes, Emmanuel opened up about the experience of shooting Coppola’s passion project — which also represents a big play for the British thespian, who broke out playing fan-favorite Missandei on HBO’s Game of Thrones. Since then, she’s rolled with the Fast & Furious gang, joined the Maze Runner franchise and gone toe-to-toe with Kevin Hart in his Die Hart series.

As for Megalopolis, the film centers on an ambitious architect named Caesar (Driver), who wants to rebuild New Rome — a city similar in size and scope to New York — as a utopia following an apocalyptic disaster. Emmanuel describes her character, Julia Cicero, as the “beloved daughter” of Esposito’s character, the first African American mayor of New Rome. “She finds herself very intrigued and fascinated by Caesar,” she says. “He also just so happens to be her father’s kind of archnemesis, so she finds herself stuck between these two worlds and trying to work out her place in it.”
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The 35-year-old actor spoke to ELLE UK following her debut appearance on the FROW at Chanel’s 2024/2025 Cruise show in Marseille, France.

For Southend-on-Sea-raised Nathalie Emmanuel, Chanel’s creative director Virginie Viard’s choice of Marseille for her Cruise 2024/2025 runway show on Thursday, located on the rooftop of the Cite Radieuse (a modern apartment complex also known as Le Corbusier), couldn’t have been a more fitting seaside setting.

‘I was inspired by the codes of lifestyle, of everyday life, and by all the things that invite movement. The sea and the wind made me want to play with wetsuits,’ Viard explained in yesterday’s show notes of the choice of Marseille, which explains the collections beach-inspired references, from swimsuits and broderie anglaise twin sets to crochet Bermuda shorts and terrycloth platform flip-flops.

‘I thought it was really cool, vibrant, fun and light,’ Emmanuel told ELLE UK of her debut appearance on the Chanel FROW. ‘It felt very traditionally Chanel, but also modern and artistic. It was really eclectic with lots of colour, fresh creams and white, and sparkly details.

‘My favourite look was a knitted cardigan and knitted cream set. Underneath the model wore body jewellery that looked like a fish net covered in different medallions, as if they’d been caught in the net,’ she noted of charm-adorned open chainmail halter top, which has found itself at the top of our summer wishlists. ‘It thought it was such a lovely blend of something quite glamorous juxtaposed with something cosy, warm and comfortable.’

For the show, attended by Chanel favourites including Stranger Things’ Sadie Sink, Oscar winner Marion Cotillard, and actor Lily-Rose Depp, Emmanuel chose to style a pink, black and grey tweed cardigan over a black lace mini dress. ‘It was really cool because you had all this texture and metallics on the front of the dress,’ she said. ‘I wore platform shoes with a patent brown toe, and stacks of rings with the Chanel logo on them.
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The former Games of Thrones actor has risen from Hollyoaks to Hollywood, playing the lead in a female-led horror-thriller film.

From dragons to vampires might not be the most tried and tested trajectory, but Nathalie Emmanuel has made it work, playing heroine Evie in new horror-thriller film, The Invitation. The English actor and model, 33, is best known for playing her Games of Thrones character, Missandei, a former slave who serves as Handmaiden and advisor to Daenerys (played by Emilia Clarke). Soap fans will have known her long before: Nathalie’s television career began in Hollyoaks, where she played the character of Sasha Valentine between 2006 and 2010.

GLAMOUR has interviewed Nathalie several times, most recently back in 2020, where she spoke about her secret shyness and how her Games of Thrones role “pulled her out of a slump” in her acting career. Today, she’s on top of the world – energised and enthusiastic about her recent leading role. We discuss her latest film, the mixed blessing of playing the central role in a horror film (and what she does to “come down” after her working day). Plus, Nathalie explores why horror is such a compelling genre to access the difficult themes of racial and social discrimination (she is of Dominican heritage, through her mother, and Saint-Lucian/English heritage through her father), and the “gaslighting” that surrounds it.

You’re most famous for your recurring role on Game of Thrones, where you were very much part of an ensemble cast. What was it like being at the helm, in The Invitation, playing the main character Evie?

It was a welcome challenge to be honest. The responsibility was a whole other level to what I had previously experienced. I felt like I had been building towards it for many years and finally I got the opportunity to lead a movie. I mean, it was tough, for all the reasons you can imagine. I’m pretty much in like almost every scene, and it was a big undertaking to build and map the character across that much material. There’s just so much more work involved, but I was just incredibly excited to have that opportunity, and it’s an experience I hope to continue to keep doing.

Are you a horror fan yourself, in your spare time?

I wouldn’t say I have a hardcore knowledge about the horror genre, but I’ve always enjoyed horror and thriller movies because it’s such an escapist sort of journey that you get to experience. I know it can be gory and scary at times, but there’s something about the not knowing and the trying to work it out. You’re playing detective. I love how [the viewer] is so interactive while watching a horror. You just have to tell yourself: the blood is not real. Once you’re past that part, you can enjoy the experience. It’s like in comedy, you enjoy the landing of a joke and how it makes you laugh. And I think to an extent you can enjoy the pent-up suspense and then the moment of the scare.
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The ‘Game of Thrones’ alum also shares her reaction to ‘House of the Dragon’ and looks ahead to ‘Fast X.’

[The following story contains spoilers for The Invitation.]

The Invitation was Nathalie Emmanuel’s first time being number one on a major studio film’s call sheet, and now she can say that she’s led her first number-one movie at the domestic box office. Jessica M. Thompson’s supernatural horror film opened with $7 million, which was enough to top a quiet weekend at the box office, but a win is a win, especially for a $10 million-budgeted genre pic.

The film follows Emmanuel’s Evie, a floundering New York City artist who takes a DNA test that eventually connects her to a previously unknown English cousin named Oliver Alexander (Hugh Skinner). The Alexander family turns out to be quite wealthy, and Oliver urges Evie to attend a family friend’s wedding in the English countryside. Despite the objections of her best friend, Grace (Courtney Taylor), Evie makes the trip, only to gradually realize that she’s been positioned to be the new bride of Dracula (Thomas Doherty’s Walter DeVille).

Evie ultimately survives the trap she’d been placed in by Oliver, but the response from early test screenings wanted more of a comeuppance for her deceitful cousin. Most of all, test audiences wished to see Grace again after Evie overcame vampires in England. So the cast and crew reunited many months later to shoot a coda that addressed these loose threads, which also explains Emmanuel’s cool new haircut in the added scene.

“From what I’ve been told, it was simply that Courtney Taylor is fantastic, and Grace and Evie, together, was so fun and [test audiences] wanted to see them again,” Emmanuel tells The Hollywood Reporter. “So it was really lovely that people wanted to see these two friends and fiery women kick ass together.”

The Emmy-nominated actor, who’s most known for her role as Missandei on Game of Thrones, also recently starred in Matthias Schweighöfer’s Army of Thieves, the well-received spinoff of Zack Snyder’s Army of the Dead. With plans for more Army-verse stories, the question remains if Emmanuel’s Gwen will get to reunite with Schweighöfer’s Dieter, something Thieves set up.
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The actress on her latest horror movie role, her life post-Game of Thrones and why she’s still battling for better representation

For a woman best known as a Game of Thrones character, Nathalie Emmanuel is doing her level best to not sit still. In fact, typecast Emmanuel at your peril. A consummate, lifelong performer, her career began as a child playing Nala in the West End production of The Lion King and in the last few years, she has become a hacker in The Fast and the Furious franchise, turned her hand to comedy – in both Hulu’s Four Weddings and a Funeral and in her Emmy-nominated turn in Die Hart, alongside John Travolta and Kevin Hart – and found herself cast in cinematic legend Francis Ford Coppola’s next project. Her career’s variety is impressive and, lately, there has not been a sword or dragon in sight.

It’s why her latest move makes sense. Emmanuel will next be seen in The Invitation, a good old-fashioned gothic horror movie. “I’ve always been really interested in trying my hand at all kinds of genres,” she tells me. “It was something I hadn’t done before and I was so eager to try.”

The shoot in Budapest was, by all accounts, hugely fun, if exhausting. “I mean, practically, playing sheer terror and trauma is very, very tiring,” she says. “It’s a useful sensation though, because though you feel like there’s nothing left; you have to keep pushing through. And that’s true of when you’re a character trying to survive a horror!”

Yet The Invitation is more than its blood-soaked parts. When Emmanuel’s recently orphaned American artist Evie finds British relatives through an online DNA test, she accepts an invitation to a family wedding at an aristocratic estate – one that she ends up wishing she hadn’t RSVP’d to. The film is as much an homage to gothic horror tales as it is a commentary on power structures and oppression. It is Get Out meets Bram Stoker.

“I was taken with how the script looked at race, power and class and how all of those things intersect,” she says, noting that one of the things which appealed to her was the film’s director, Jessica M Thompson. “These people are at the of top of that power structure, being very wealthy, being white, being mostly men. Evie, being a biracial working-class woman, is immediately placed in a situation where she is ill at ease. For me, as a woman of colour, who also didn’t come from wealth, I immediately connected with that, and used how I navigate spaces that weren’t necessarily made, or designed for me, to get into the role.”
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