Anya Taylor-Joy’s Roles to Date — and What She’s Doing Next

“The Witch” (2015)

Robert Eggers‘ Sundance smash “The Witch” centered on an exiled Puritan family grappling with the temptation of evil, as embodied by the eldest daughter Thomasin, played by Taylor-Joy. Set in 17th century New England, “The Witch” still haunts Taylor-Joy to this day. During Variety’s “Actors on Actors” series, Taylor-Joy called wrapping “The Witch” her “first heartbreak.”  

“The loss of there was a world that existed with a group of people that became my everything for a period of time, and now it’s over,” Taylor-Joy looked back. “I had no concept as to how to deal with that.” 

Taylor-Joy previously shared that she thought she would never work again after first watching “The Witch” in theaters. “I thought I’d never work again, I still get shivers thinking about it,” Taylor-Joy said during an interview with The Hollywood Reporter. It was just the worst feeling of, ‘I have let down the people I love most in the world. I didn’t do it right.’ And I’m quite verbose, I like to talk, I like to communicate. I did not talk, I just cried. I couldn’t handle seeing my face that large.”  

“Morgan” (2016)

Sci-fi drama “Morgan” placed Taylor-Joy in the foreground once again as a mysterious artificial intelligence project gone wrong. Kate Mara costars as the corporate risk management expert tasked with containing Morgan in the 2016 drama, directed by Ridley Scott’s son, Luke Scott.  

Critic Kate Erbland concluded that “Morgan” is “just another sci-fi film that’s only engineered to disappoint” in her review, but the flick marked Taylor-Joy’s memorable foray into high concept endeavors. In an interview with Bustle, Taylor-Joy described portraying the genderless A.I. as liberating. “I never thought about Morgan’s gender because Morgan doesn’t think about her gender,” Taylor-Joy said. We live in a world where people place a lot on gender and dictate what you can and cannot do on that basis, and I just think that’s absolutely ridiculous.”  

Taylor-Joy added, “One of my favorite expressions is: Any feeling that you’re having right now is a beautiful example of your human experience. That includes feeling like utter shit, to be honest. If you don’t have the lows, you can’t really have the highs and the highs are so good.” 

“Barry” (2016)

The 2016 Barack Obama biopic “Barry” premiered at the Toronto International Film Festival to mixed reviews. Set in New York City in 1981, 20-year-old Barry (Devon Terrell) transfers to Columbia University for his junior year of college, and suffers a slew of microaggressions and racist remarks. Barry begins dating Charlotte (Taylor-Joy) and their mixed-race relationship draws unwanted attention from classmates.

IndieWire’s David Ehlrich likened ”Barry” to “Shakespeare in Love” in his review, while praising Taylor-Joy’s performance as “so vivid and feeling that you’d never assume her character is a composite of Obama’s college paramours.” In fact, it was the character of Charlotte that asked Barry, “Do you not believe in change?” as a nod to Obama’s 2008 presidential campaign.  

Ehrlich continued, “Here is an urgent testimony to the power of pluralism, a movie that uses the story of a bi-racial man to argue that being American means not having to pick a side, means not having to be white or black at the expense of being anything else. And yet, in failing to be both a biopic and an examination of America’s dividing lines, “Barry” never manages to be the change it wishes to see in the world.”  

“Split” (2016)

M. Night Shyamalan‘s hit “Split” gave Taylor-Joy a vehicle to display her softer side — and also play a normal high schooler…that is, until she is kidnapped by Kevin Wendell Crumb (James McAvoy) and his 23 different personalities, including the bloodthirsty Beast. Taylor-Joy’s Casey empathized with Kevin’s traumatic upbringing, and audiences are invited to analyze Casey’s scars both past and present.

IndieWire critic Jette Kernion wrote in her review of the film that “the movie relies too heavily on close-ups of Casey’s face in lieu of a strong script,” comparing Taylor-Joy’s tragically minute facial expressions with McAvoy’s extreme “transformations” as various personalities.

Taylor-Joy said in an interview with Harper’s Bazaar that she struggled when she first learned of Casey’s sexual abuse in the script. “At the end of the read-through, I actually couldn’t cope,” she opened up. “We had to go to rehearsals straight after lunch [and] I just locked myself in a room and cried. I cried for a really long time because my characters are very real for me and I love them like family. Obviously everyone’s pain is utterly unique, and the only way that I could access her pain was through empathy. I couldn’t pretend that I knew how that felt. I hope I did a good job of representing it. Everyone deals with trauma differently, and she just shuts down.”

“Thoroughbreds” (2017)

Based on the play by Cory Finley of the same name, “Thoroughbreds” explores the juxtaposition between sociopathy and empathy with two affluent troubled teens with a taste for murder, played by Olivia Cooke and Taylor-Joy. Anton Yelchin costars as a washed-up drug dealer in one of the actor’s last performances before his tragic death. The murder-for-hire plot was a breakout hit at the 2017 Sundance Film Festival, leading to Focus Features purchasing “Thoroughbreds” for $5 million in one of the festival’s first deals.  

Taylor-Joy raved about first-time writer-director Finley at the London premiere, saying, “I never worry if a director is going to be competent, because for me it’s more about a deep emotional connection. I just vibe with people of a certain tribe, and with Cory I felt like I had just met a soulmate.”

And Taylor-Joy’s character haunted her maybe even more so than her “The Witch” triumph: “It was only when the film ended and I shed her skin that I had the clarity to see she’s quite a toxic person,” Taylor-Joy reflected. “And while she’s a symptom of her environment, it was strange to inhabit her for such a long time, because at a certain point you’re just justifying her actions.” 

“The Miniaturist” (2017)

Taylor-Joy was immediately drawn to the role of Petronella “Nella” Brandt in PBS’ “The Miniaturist,” a three-part miniseries based on the novel by Jessie Burton. Nella is a 17th century Dutch bride who struggles to adapt to married life with her new husband Johannes’ (Alex Hassle) and his strict Amsterdam household. Nella quickly finds herself dodging family politics and nosy servants. “I think she’s very naïve at the beginning,” Taylor-Joy exclusively told IndieWire. “She’s been told that she must be docile by society. She’s been told what’s expected of her for her entire life, so I don’t think she’s had any thoughts outside of that.”  

Taylor-Joy added, “Because she finds herself in an unfamiliar situation, she actually becomes incredibly resilient.” Although the role was “frustrating” for Taylor-Joy at times, it was an “interesting exercise” in constricting her emotions — and waist. 

“We had a couple of emotional scenes in ‘The Miniaturist’ where the director would just be like, ‘You need to tone it down because your level of where you are is not the level where this character should be,’” Taylor-Joy remembered. ”I was like, ‘Wow, that’s the first time anyone has ever asked me to tone it down before.’ [Also] I’d never worn a corset before…I still have scars on either side of my body.”  

“Marrowbone” (2018)

The sinister sibling drama centers on four kids seeking refuge in a seemingly-haunted seaside home. “The Orphanage” screenwriter Sergio G. Sánchez made his directorial debut with the horror thriller, costarring Charlie Heaton (“Stranger Things”), George MacKay (“Captain Fantastic”), and Mia Goth (“A Cure for Wellness”). “Marrowbone” presented a new type of character for Taylor-Joy to play: one who “has her shit together,” the actress joked to Rue Morgue in 2018. “Allie is unlike any character I’ve ever played before,” Taylor-Joy clarified. Allie’s just a beautiful role; she and Jack [MacKay] have this great love. His journey is so intense and dramatic, and Allie is kind of the rock who stands by him and loves him.”  

In fact, some of that “great love” spewed over behind-the-scenes. “The four of us — Mia, Charlie, George and I — became so close that we really were like a family,” Taylor-Joy concluded. “And to portray that kind of great love on screen — I was amazed at the power of it. I’ve never done anything like that.” 

“Glass” (2019)

Taylor-Joy reprised her role as the Beast’s (James McAvoy) handler and Kevin Wendell Crumb’s love interest in M. Night Shyamalan’s “Split” follow-up, “Glass.” When the 2019 film flopped with critics, writer-director Shyamalan admitted to feeling “distraught” over its 37% Rotten Tomatoes score. Honestly, I was feeling like, ‘Will they never let me be different without throwing me on the garbage pile?’” Shyamalan told the NYU’s Stern School of Business, where he delivered the 2019 Ashok C. Sani Distinguished Scholar-in-Residence lecture April 16, 2019. “The feeling of worthlessness rushed me, and to be honest, it doesn’t ever really leave. But anyway, the film went on, right? It became number one in every country in the world, and it represents my beliefs.” 

IndieWire critic David Ehrlich slammed the film for being the “biggest disappointment” in Shyamalan’s career, following the success of “Split.”  

“This was supposed to be Shyamalan’s greatest triumph — the coup de grâce of the long comeback saga that he’s been living for most of the 21st century,” Ehrlich wrote. “Instead, this lugubrious slog only sharpens the feeling that he’s too raw and reactionary for his own good — that he’s grown too invested in his own story to tell any others with the patience, discipline, and power that defined his first hits.”  

“Peaky Blinders” (2019)

Taylor-Joy joined hit BBC One crime drama “Peaky Blinders” in season five. The Steven Knight-created series moved into 20th century England during its fifth season following Tommy Shelby (Cillian Murphy). Taylor-Joy appeared in six episodes as Gina Gray, the wife of series antagonist Michael Gray (Finn Cole). “I could not possibly be more excited to be joining such a talented group of people,” Taylor-Joy announced to Deadline. “I can’t wait to get in and play this character.”  

She later told The Hollywood Reporter that it was a “pleasure to get to play the most hated character” on the series.  

To NME, Taylor-Joy gave insight into her work ethic after non-stop releases since 2015. “I feel very, very lucky that I’ve never taken a job because I was scared of not having another job,” she revealed. “It just so happens that these characters come up. There’s definitely moments that I’m like ‘Oh no, I really need a break but I can’t handle someone else playing her.’” 

Taylor-Joy’s TV venture only added to breaking the “box” that audiences were trying to categorize her talent in as an “indie scream queen,” among other labels. “I’m very grateful to directors who have seen outside of that,” Taylor-Joy summed up. “If I keep doing all of these different roles, hopefully people will understand that we’re actors and it’s our job to be chameleons.” 

“Emma” (2020)

Taylor-Joy returned to her beloved period pieces, albeit with a modern twist in this fresh take on Jane Austen’s beloved heroine “Emma.” Partnered with another first-time filmmaker, Autumn de Wilde, Taylor-Joy blossomed in the title role of matchmaker Emma Woodhouse in the Focus Features release. IndieWire’s review of the lush 2020 film applauded Taylor-Joy’s depth, acknowledging her acting choice to “play to the character’s ennui; Emma’s boredom is on the verge of becoming an existential crisis.”  

The lead star also put her own spin on Emma, telling IndieWire’s Anne Thompson that she wanted to stay as true to the novel as possible. “I wanted permission to make her mean,” she explained. “I just want to tell the story the way Austen wrote it. There’s this emphasis on being likable. You have to like the character. No you don’t, not all the time. It’s not interesting that way.” 

Taylor-Joy confessed, “It’s something truthful, fresh, and fun, fun to watch her behave badly… I had my version. We’re all hot messes. It’s the real truth of how these people felt. They couldn’t be perfect all the time because they are human beings.” 

“The New Mutants” (2020)

After multiple delays and reshoots, “The New Mutants” landed in theaters and VOD in 2020. Taylor-Joy starred opposite Maisie Williams, Henry Zaga, Blu Hunt, and Charlie Heaton “as five young mutants who are being imprisoned against their will and just discovering their powers.” IndieWire declined to review the film after Disney did not offer screening links or socially-distanced press screenings to film critics amidst the coronavirus pandemic.  

Directed by Josh Boone, “The New Mutants” is the last Fox-produced superhero movie released under Disney. Audiences were given a sneak peek at the film’s opening scene during the Comic-Con@Home panel in July 2020 prior to eventually premiering in theaters a month later. The Marvel spin-off also opened at the top of the Apple TV and FandangoNow charts, 90 days after its theatrical release.  

In an interview with The Hollywood Reporter, Taylor-Joy thanked fans for remaining excited about the film even after three years of pushed-back premiere dates. “I have to give massive props to the fans, because they’ve really stuck out this film with us,” she stated. “They’ve been waiting for a long time, and they’re still enthusiastic about it. So it really speaks to the dedication of the fandom.” 

“The Queen’s Gambit” (2020)

Breakout Netflix series “The Queen’s Gambit” was the go-to quarantine binge in 2020, and made Taylor-Joy a household name. Co-created, written, and directed by “Godless” showrunner Scott Frank, “The Queen’s Gambit” follows fictional Kentucky-born chess champion Beth Harmon (Taylor-Joy) as she grapples with her fame, success, and narcotics dependency. The limited series landed Taylor-Joy her first Golden Globe Award, SAG win, and recognition at the Critics’ Choice Awards.  

In our review, critic Ben Travers praised Taylor-Joy’s assurance as Beth. “Taylor-Joy trusts the character, the context, and her own command to keep viewers enamored, and it works beautifully,” Travers penned. “Being so focused on the here and now helps keep audiences there with her, as many unspoken moments — especially during chess matches — only connect because of her richly detailed process.” 

“The Queen’s Gambit” broke Netflix limited series streaming records, attracting 62 million viewers in four weeks before going on to earn Taylor-Joy a Golden Globe, a Critics Choice Award, and a SAG Award.  

“Last Night in Soho” (2021)

Writer-director Edgar Wright dove into psychological thriller territory with “Last Night in Soho,” starring Taylor-Joy as an idealized doppelgänger of main character Eloise (Thomasin McKenzie). The 1960s-set film transformed London into a neon-hued erotic nightmare, and as Taylor-Joy told MTV’s “Happy Sad Confused” podcast in February 2020, even watching scenes played back led her to be “disturbed” by the “claustrophobic” world Wright built.  

“The colors are so intense,” Taylor-Joy said. “It’s a really well-directed acid trip. I think people will really like it. You definitely will not be bored.” 

Taylor-Joy said of working with Wright, “The man loves cinema. He loves any art form. It’s so fun to talk music with him. He just knows everything. I don’t know how he fits it all in his head. I loved it.”  

“The Northman” (2022)

Taylor-Joy reunited with “The Witch” director Eggers for his third film, Viking revenge drama “The Northman.” Alexander Skarsgård, Nicole Kidman, Willem Dafoe, Ethan Hawke, and Björk co-starred in the epic tale of a Nordic prince (Skarsgård) who seeks to avenge his father’s death. 

Taylor-Joy told Collider she was “over the moon” to collaborate with Eggers again. “Robert and I have now been friends longer than we have been co-workers,” Taylor-Joy said. “Getting the opportunity to create art together again is amazing. We have both grown so much apart and now we get to grow back together. I am so proud to be a part of this project. Every moment on set I am proud. I think we will be presenting to the world something it genuinely hasn’t seen before. I just feel so humbled I get to be a part of it.”

“Amsterdam” (2022)

Taylor-Joy also made headlines once more after being cast in David O. Russell’s star-studded “Amsterdam.” Margot Robbie, Robert De Niro, Chris Rock, Rami Malek, Zoe Saldana, Christian Bale, Michael Shannon, John David Washington, and more A-list actors rounded out the dream cast.

Anya Taylor-Joy Eats the Rich in “The Menu”

Produced by Adam McKay, “The Menu” stars Anya Taylor-Joy and Nicholas Hoult as Margot and Tyler, a wealthy young couple who feast on surprising delicacies curated by a famed chef, played by Ralph Fiennes, on a remote island. Yet not everything is as it seems…

“Succession” director and executive producer Mark Mylod helmed the Searchlight Pictures film. Taylor-Joy told IndieWire that the satire was a “smorgasbord” of genres. She earned a Critics Choice Award nomination for her performance.

“Super Mario Bros.” (2023)

Taylor-Joy voices Princess Peach in the animated feature film “Super Mario Bros.” based on the Nintendo characters. Chris Pratt and Charlie Day as plumber brothers Mario and Luigi, who set out to save Princess Peach (Taylor-Joy) as Bowser (Jack Black) and Donkey Kong (Seth Rogen) stand in their way. Keegan-Michael Key voices Toad.

Taylor-Joy revealed that since being cast in the voiceover role, she has become “a gamer.” 

“Ideally, I like playing at arcades, because, again, it’s like cinema; I love the ceremony,” the actres said. “I’ll go with a whole bunch of friends. And we’ll just spend hours at the arcade.” 

“Furiosa” (expected 2023)

This prequel to “Mad Max: Fury Road” focuses on the origin story of Furiosa, previously played by Charlize Theron. George Miller’s “Furiosa” now places Taylor-Joy in the role of the apocalyptic vigilante, also starring Chris Hemsworth and “Watchmen” actor Yahya Abdul-Mateen II.

Taylor-Joy told IndieWire that “Furiosa” is the “dirtiest, bloodiest I have ever been,” adding, “Any time I get to be dirty or bloody and not perfectly prim and pretty, I’m just having a ball, that’s where I feel most comfortable. So yeah, ‘Furiosa’ was definitely right up my street.”

For all the details on “Furiosa,” click here.

“The Gorge” (estimated 2024)

Talyor-Joy is joined by Miles Teller in Scott Derrickson’s “The Gorge” about two very dangerous young people who, despite the corrupt and lethal world they operate in, finding a soulmate in each other. Written by Zach Dean (“The Tomorrow War”), the thriller marks “The Black Phone” helmer Derrickson’s 11th feature behind horror movies like “Sinister” and “The Exorcism of Emily Rose.” 

“Laughter in the Dark” (estimated 2024)

The award-winning actress teams up with “The Queen’s Gambit” showrunner Scott Frank for an upcoming adaptation of “Lolita” author Vladimir Nabokov’s 1932 novel “Laughter in the Dark.” Taylor-Joy is slated to play Margot Peters, a 17-year-old aspiring actress who captures the eye of middle-aged art critic Albert Albinus.

According to an interview with The Ringer’s The Watch podcast, Frank called the project “a valentine to movies, I’m going to do it as a film noir and a movie within a movie. And it’s a really nasty, wonderful, thriller.”

And it’s clear that whatever Taylor-Joy puts her mind to next, the project will be personal to her. “At the beginning, I used to say like, ‘I know this sounds crazy, but my characters are real to me,’” Taylor-Joy said in an interview with IndieWire. “I care about these characters and the relationships that I have with them are as real as the relationships that I have with people that I don’t play,” she explained.

We can’t wait to see what other characters Taylor-Joy bonds with next.