This year’s Cannes Film Festival lineup has no shortage of buzzy projects making their big premiere, and one of the most talked-about this week is Nicolas Winding Refn’s Her Private Hell.
The new Neon thriller—starring Charles Melton, Sophie Thatcher, Havana Rose Liu, and Kristine Froseth—revolves around a mysterious mist that creeps into a futuristic metropolis, releasing an elusive killer known only as “The Leather Man.” (Dun-dun-dun.) Last night, the cast gathered to celebrate the film’s highly anticipated debut, and they even earned a 12-minute standing ovation in the process. “Being in Cannes to begin with is a dream in and of itself,” says Froseth, a festival first-timer. “I feel so incredibly lucky to be here with a cast and film that I absolutely love.”
A magical pre-premiere lunch at Hotel du Cap-Eden-Roc, with my co-star Havana Rose Liu.
The actor, who most recently starred in The Buccaneers, says she jumped at the opportunity to work with Refn (who has directed The Neon Demon and Drive). Even so, filming a horror movie with the director proved to be a brand new challenge. “Every single day was like no other film set I’ve been on,” says Froseth. “There was a script, but Nicolas—being the intuitive and spontaneous person he is—would have dreams about new scenes and or losing others, and we’d follow his visions with total trust. It was so exciting now knowing where he would take us.”
In the film, Froseth plays Hunter, a young influencer-type who is obsessed with fame and about to film a movie. (Meta, much?). Turns out, there was a lot of art and intention that went into creating a film that is Hollywood-coded—and so scary and eerie, no less. “I don’t think I viewed it as a horror while shooting it: I just listened closely to Nicolas’s specific structure,” says Froseth. “My biggest challenge initially was understanding the pacing and rhythm of the world he created. I hadn’t acted in such a specific way before: These characters always move with purpose, each frame is filled with intention, nothing is there without a strong reason.”
When in France, am I right?
For its splashy red carpet premiere last night, meanwhile, Froseth wanted to take a break from all of the blood and scares—and, instead, lean into the traditional glamour of Cannes. She worked with stylist Sandra Amador to find the perfect gown for the moment, courtesy of a pink-bodice Armani Privé number with a long, black skirt. “I screamed when I first saw the initial sketch of the dress,” says Froseth. “It was everything I could’ve dreamt of. Sandra and I had spoken for weeks about mood and energy. We wanted something timeless, unique, and sparkly—just like the film.”
While the actor has been to Cannes before, this marked her very first time taking part in the film festival, and wanted to lean into a classic elegance versus, say, doing method-dressing or taking some crazy fashion risk. (Not to be missed: She also wore an elegant cream Ferragamo skirt suit for the photo call, no less.) “It felt like my inner child’s dream of getting to wear pink and sparkles, and just lean into the fun of dressing up,” says Froseth. “There was no question about it being the right dress from the moment I saw the sketch to my first fitting.”
A full length shot before we head downstairs.
Between the photo call and the premiere, Froseth didn’t have time for much else in the Mediterranean setting—though, she did make room for a little fun, she says. “I’m lucky to be attending fun parties and dinners,” says Froseth. “I’m just going to be with my cast as much as possible and soak up every moment. I can’t believe I get to celebrate this film with these amazing talented souls.”
Up next for the actor post-Cannes? She’s back to work on a few other projects. Because there’s no rest for the wicked—or rather, for a rising star. “I am currently shooting season three of The Buccaneers in Scotland and wrapped another Edith Wharton piece called The Age of Innocence for Netflix,” says Froseth, who is also returning to horror soon. “I’m also incredibly excited to see what happens with another film I did last year, called The Face of Horror by Anna Biller. It’s another unique journey that I am so proud of having gotten to be a part of.”
Below, see an exclusive look inside Froseth’s Cannes Film Festival.
Photo: Victoria Stevens
Makeup begins with the brilliant (and funny!) Zoe Taylor.
Photo: Victoria Stevens
Starting hair with my friend David von Cannon, who always brings good vibes and a little song!
Photo: Victoria Stevens
Admiring this beautiful makeup—thank you Armani Beauty!
Photo: Victoria Stevens
Who doesn’t love a Polaroid, especially one captured by Victoria Stevens?
Photo: Victoria Stevens
Feeling so much joy and love today, which is exactly what I would have hoped for leading into my first Cannes Film Festival premiere.
Photo: Victoria Stevens
A sneak peak of the Armani Privé dress of my dreams.
Photo: Victoria Stevens
Ok, guys, do you see this look of love in my eyes? I’ve never been more obsessed with a dress.
Photo: Victoria Stevens
This all feels very surreal! I can’t even believe I’m here!
Photo: Victoria Stevens
My ticket to the premiere! I love holding on to mementos like this. I feel so lucky to be here.
Photo: Victoria Stevens
Fun fact, the Armani team literally had to sew this belt on my body to ensure that it stayed perfectly in place.
Photo: Victoria Stevens
Photographer Victoria Stevens and I had fun playing with these mirrors in the room.
Photo: Victoria Stevens
Stairs shot!
Photo: Victoria Stevens
Smiling on the outside, praying I don’t fall down these stairs on the inside.
Photo: Victoria Stevens
“We made it down the stairs. What a time to be alive!"
Photo: Victoria Stevens
The lobby of The Martinez can be chaotic and filled with glamorous people, but it was surprisingly calm as we headed out.
Photo: Victoria Stevens
Just when we thought stairs were hard—revolving doors!
Photo: Victoria Stevens
Bye Vogue! Off to my first Cannes Film Festival premiere of Nicolas Winding Refn’s Her Private Hell!
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