Aubrey Plaza getting ready for My Old Ass (photo by George Pimentel/Shutterstock for Sundance)
Here at the Sundance Institute, we talk a lot about film. Whether it’s helping co-workers figure out what to watch this weekend or feeling positively ancient when we hear that a movie from our youth is celebrating a big anniversary, we’ve got thoughts, feelings, and recommendations for indie film lovers ready to go. Welcome to our regular series where Sundance Institute employees bring our most passionate hot takes about independent cinema to you. This is Personnel Thoughts.
It would be hard to find someone who is more ride or die for independent film than Aubrey Plaza. She started her feature film career at the Sundance Film Festival (shout out 2009’s Mystery Team), frequently references the master (and fellow Festival alum) John Waters as her gateway into the indie film world, and has hosted the Film Independent Spirit Awards twice.
Within Plaza’s 15+ year career she’s checked into high-end White Lotus resorts, emerged from secluded covens with Marvel, and lorded over fanciful cities like Megalopolis. Her filmography has been as exciting and unexpected as she is and we’re honored that she’s been a part of our community for nine of those projects.
To celebrate her birthday this week, we’re opening the Sundance Film Festival archives and waxing poetic about our favorite Plaza performances. While there will be loads of sarcasm within some of these roles, our admiration for one of our Festival regulars is nothing but sincere.
Ingrid Thorburn, Ingrid Goes West (2017 Sundance Film Festival)
In college I threw myself a Janet Snakehole/Snakehole Lounge themed birthday party so I’ve been day one down with Aubrey Plaza, and as her credit list grew I always made a point of watching her projects. Out of those post-Parks and Recreation roles I’d say Ingrid Goes West continues to be one of my favorites. It holds up after multiple rewatches and (heartbreakingly enough!) feels just as relevant now as it did when it was released in 2017. Plaza is reliably hilarious, but I’d never been as moved by a character she’s been until Ingrid Thorburn, a mentally ill woman who spends a recent inheritance on a move to Los Angeles to become more like — and friends with — her favorite influencer, Taylor Sloane (Elizabeth Olsen).
There’s a generosity to how she plays Ingrid: she’s doing all sorts of truly wrong things in an attempt insinuate herself into the lives of people that don’t actually know her and wouldn’t like her if they did, which is uncomfortable and funny, but it never comes at the expense of the humanity of that character. It’s a nuanced performance in a film full of really wonderful ones (Olsen’s Taylor and O’Shea Jackson Jr.’s Dan Pinto are especially memorable). Ingrid’s desperation is real and demands that the viewer engage with it instead of only laughing at the corner she’s painting herself into. A lesser actor would make an unhinged woman making morally iffy decisions for internet validation be one-note, but Plaza’s portrayal makes you feel the entire weight of the societal forces that drive Ingrid over the edge without losing any humor. — Sylvy Fernandez, Publicist
Allison, Black Bear (2020 Sundance Film Festival)
There’s an exchange within the middle of Black Bear that kind of sums up the brilliance of both Lawrence Michael Levine’s psychological drama as well as his lead actor. Blair (Sarah Gadon) turns to Allison (Aubrey Plaza) in the midst of a tense dinner conversation and in disbelief says “You’re really hard to read.” Without missing a beat, Allison shoots back “Yeah, you know what? I get that all the time.”
Black Bear is a thrilling discussion about power dynamics, creativity, lust, storytelling, art, and truth all wrapped up in a trio of unforgettable performances. Plaza, at the center of it all, gives nothing away as the writer-director with writer’s block looking for a spark. She’s smart, cool, and collected, walking directly into a marriage on the rocks with nothing but charisma and time to kill. Or, wait, is she actually the wife of a director (Christopher Abbot) and the star of his latest film, consumed by jealousy and paranoia? Throughout Black Bear’s different threads, becoming more and more tangled by the minute, Plaza is a magnetic force, skilled in her multiple roles with a depth that one could only hope to unravel.
The film, which takes place entirely at a cabin on the lake, folds in on itself so many times, it’s almost impossible to decipher what is really happening and what is twisted up on itself within Allison’s head. But what a head to be in. — Bailey Pennick, Associate Editorial Director
Elliott LaBrant (older), My Old Ass (2024 Sundance Film Festival)
Aubrey Plaza has built a career on that wonderfully dry wit and effortlessly cool demeanor that can cut through any room. But what she brings to My Old Ass as “older Elliott” is something deeper, something we — as aging millennials who are always growing, evolving, and reflecting on our journeys — can truly appreciate. So, yes, she brings that signature wit. But beneath it, there’s a weariness, a knowing gaze, and a profound emotional depth that just… lands.
In My Old Ass, we see a character grapple with her past self, with the choices made and the paths taken. And Plaza, embodying the older version of our protagonist, delivers a performance that is rich with the kind of wisdom that only life’s bumps and triumphs can bestow. It’s not just the comedic timing, which is, of course, on point. It’s the quiet moments, the knowing glances, the way she conveys the weight of experience without saying a single word. You feel the depth of her character’s journey, the lessons learned, and the hard-won peace that comes with truly knowing yourself.
This isn’t just about meeting your younger self; it’s about making peace with who you were, celebrating who you are, and understanding that every step, every misstep, leads you to exactly where you’re meant to be. And within this bizarre semi-time travel adventure, Plaza captures that beautiful, complex essence. She shows us the power in self-reflection, the beauty in growth, and the strength in embracing every single chapter of your life.
So, if you’re looking for a film that makes you ponder your own path and features a performance that proves artistry knows no bounds, see My Old Ass. Aubrey Plaza gives us something truly special — a portrayal that’s both relatable and uniquely moving. She reminds us that our stories are ever-unfolding, and there’s power in every single page. — Ray Love Jr., Marketing and Communications Coordinator
Lulu Danger, An Evening with Beverly Luff Linn (2018 Sundance Film Festival)
As a deadpan woman with a secret and a killer sense of style, Aubrey Plaza is in her element as Lulu Danger in Jim Hosking’s absurd caper An Evening with Beverly Luff Linn. Feeling disillusioned after her own husband (Emile Hirsch) fires her from her job at the cappuccino shop, Lulu jumps at the chance for excitement when she sees an advertisement for a show by mysterious performer Beverly Luff Linn (Craig Robinson), an old flame of hers, at the town’s hotel. Enlisting the help of a naïve drifter named Colin (Jemaine Clement), Lulu heads to the hotel in hopes of a reunion.
Even with a cast full of off-kilter characters (played by comedic favorites like Matt Berry, Zachary Cherry, Jacob Wysocki, and more) competing for screen time, Lulu’s piercing looks and glorious wardrobe (think puffy sleeves, ’80s pastels and metallics, and a faux fur jacket I’m still dreaming about) add to the magnetic screen presence that Plaza brings to any project she takes part in. While her husband and his associates don women’s wigs for a robbery attempt and Beverly Luff Linn himself communicates in grunts with his overly devoted sidekick, Lulu is on a mission, an undeniable mix of femme fatale and earnest woman in search of love. She knows what she wants, and she’s gonna get it, too. — Lucy Spicer, Associate Editorial Manager
Fernanda, The Little Hours (2017 Sundance Film Festival)
I know I wasn’t the only one obsessed with the cartoon Daria — and its titular character — in the ’90s and early 2000s. She was smart and cynical, with a sharp wit and dry humor, and her sarcastic outlook on life was incredibly relatable. I remember watching Aubrey Plaza on Parks and Recreation — her deadpan delivery, intellectual prowess, and unapologetic sarcasm on full display — and thinking, “She is the real-life Daria!” As I watched her in other projects and interviews, I realized that this refreshing attitude wasn’t just an act — it was Plaza’s natural disposition.
It’s this inclination that makes her role in The Little Hours, a comedy set in a medieval convent about nuns who engage in rebellious acts, so hilarious. Plaza portrays Sister Fernanda, foul-mouthed, disillusioned nun whose disdain for authority leads to her involvement in a series of rebellious acts that disrupt the convent. The girl has a serious lust for life, and I vibe with her desire to reject convention and find joy in her defiance of her oppressive surroundings. Sometimes, we just need to shake things up with someone who has a sardonic edge and can crack us up. — Jessica Herndon, Brand and Editorial Copywriter
Emily Benetto, Emily the Criminal (2022 Sundance Film Festival)
There’s a side to Aubrey Plaza in Emily the Criminal that we haven’t really seen from her before. She’s usually the eccentric friend or the comic relief, but in this role, all of that is stripped away. Emily feels real — someone trying to stay afloat, burdened by student debt and stuck in a system where survival is the goal. Plaza brings a quiet intensity to the character, grounded and unflinching. It’s one of her most honest and compelling performances.
Watching the film during my first year attending the Sundance Film Festival hit close to home. I graduated with a film degree during the pandemic and moved to LA hoping to break into the industry. Instead, I found myself in survival mode. I had a broken-down car, a series of short-term gigs that barely covered rent, and debt that never seemed to go away. One scene especially stuck with me — Emily interviews for a design internship and learns it’s unpaid. It was filmed at the Satellite campus I had always hoped to attend before COVID shut everything down. That moment felt familiar, not just to me but to so many others who’ve been told to be grateful for the chance to work for free.
The story follows Emily as she gets involved in credit card fraud and gradually sinks deeper into the criminal world. While her choices cross ethical lines, they reveal the pressures driving her. Since moving to LA, I’ve seen friends leave the industry or switch careers just to stay afloat. Emily the Criminal doesn’t glamorize those choices. It simply shows what it’s like to feel backed into a corner. Plaza captures that with honesty, restraint, and a quiet kind of power. Watching it reminded me that a lot of people are still out here trying, and sometimes feeling seen is enough to keep going. — Brett Boon, Social Media Manager
