Jenna Ortega has built a formidable reputation as a modern scream queen, but her latest career move signals a dramatic and deliberate shift. The 23-year-old actress has been cast in Lily May B, the upcoming film from French auteur Leos Carax. Known for surreal, often polarizing works like Holy Motors and the musical Annette, Carax represents everything Ortega’s previous roles have not: experimental, daring, and deeply unconventional. For Ortega, this is more than a new role—it is a calculated risk that could redefine her trajectory in Hollywood.
Ortega first captured attention with her breakout performance in the Netflix series Wednesday, where she embodied the iconic Addams Family character with deadpan wit and emotional depth. The role earned her Golden Globe and Emmy nominations, cementing her status as a rising star. She further solidified her horror credentials by appearing in the Scream franchise reboot and subsequent sequel, as well as in Ti West’s X and the A24 horror-comedy Death of a Unicorn. These projects showcased her ability to anchor genre films, but they also typecast her within the horror realm.
With Lily May B, Ortega is stepping well outside that comfort zone. Carax’s films are notoriously challenging—they resist easy categorization and often alienate mainstream audiences. Annette, starring Adam Driver and Marion Cotillard, was a rock opera about a stand-up comedian and his opera singer wife, complete with a puppet child. It received mixed reviews but was praised for its audacity. Holy Motors is a shape-shifting masterpiece that defies narrative logic. By choosing to work with Carax, Ortega signals a desire to be taken seriously as an artist, not just a genre star.
This move is reminiscent of other actors who escaped typecasting by aligning with visionary directors. Kristen Stewart worked with Olivier Assayas and Pablo Larraín; Robert Pattinson collaborated with the Safdie brothers and Bong Joon-ho. For Ortega, the gamble is particularly high because her fanbase is young and heavily invested in her horror-image. Yet, it is precisely this kind of risk that can elevate a career from popular to prestigious.
Ortega is also set to star in J.J. Abrams’ upcoming sci-fi film The Great Beyond alongside Glen Powell. That project, combined with Lily May B, positions her for a two-pronged assault on Hollywood: one foot in commercial tentpoles, the other in arthouse credibility. This dual strategy has worked for actors like Florence Pugh and Saoirse Ronan, who balance franchise work with independent films.
Beyond career strategy, Ortega is a known cinephile. She has spoken in interviews about her love for classic cinema, foreign films, and directors like David Lynch and Pedro Almodóvar. Working with Carax allows her to engage with the kind of cinema she admires from a young age. It is a passion project in the truest sense—one that prioritizes artistic growth over box office returns.
Carax’s Lily May B remains shrouded in secrecy. Few details have been released about the plot, but the title suggests a character study. Carax often crafts narratives around outsiders or performers, themes that would allow Ortega to explore complex psychological territory. The film is expected to shoot later this year, with a potential release in 2027 or 2028.
The industry is watching closely. Casting directors and producers will note whether Ortega can hold her own in a Carax film, which demands a combination of physical endurance, emotional rawness, and improvisational skill. If she succeeds, the doors to more auteur-driven projects—perhaps even awards-season contenders—will swing wide open. If she stumbles, she can always return to the horror genre that made her famous, but the opportunity to evolve will be missed.
Ortega’s career timeline reveals a deliberate path. After Disney Channel roles in Stuck in the Middle and voice work in Elena of Avalor, she transitioned to horror with The Babysitter: Killer Queen and You (series). Each role built upon the last, but none challenged her as profoundly as Carax’s film will. The risk extends to her brand: fans who adore her as Wednesday Addams may not follow her into avant-garde territory. But Ortega has shown she is willing to lose some audience to gain respect as a performer.
Historical parallels exist. Actors like Natalie Portman moved from Star Wars to Black Swan; Daniel Day-Lewis went from Last of the Mohicans to My Left Foot. These transitions required faith in directors who pushed them beyond their limits. Carax is that kind of director—a provocateur who extracts raw, occasionally unsettling performances. For Ortega, this is the ultimate test of her acting range.
The conversation around Ortega’s career is not just about her individual choices; it reflects broader trends in Hollywood. Young stars are increasingly seeking out challenging roles to avoid being pigeonholed. The streaming era has created more opportunities for diverse projects, but also more pressure to maintain a consistent brand. Ortega’s decision to work with Carax suggests she values longevity over immediate fame.
In addition to acting, Ortega has expressed interest in directing. Working under a director like Carax will provide invaluable on-set education in visual storytelling. She has already shadowed Tim Burton on Wednesday and absorbed his gothic aesthetic. Carax offers a completely different toolkit—one that emphasizes spontaneity, symbolism, and emotional chaos. This apprenticeship could lay the groundwork for her own directorial debut down the line.
The financial stakes are also interesting. While Lily May B is unlikely to be a blockbuster, it could generate significant buzz on the festival circuit. A strong performance at Cannes or Venice would elevate Ortega’s international profile. Already a star in the US and Latin America, European acclaim would make her a global name with art-house cachet. This is exactly the kind of cross-over that builds enduring careers, as seen with actors like Marion Cotillard and Javier Bardem.
Ortega’s team has carefully curated her project choices. After the success of Wednesday, she could have signed onto multiple franchise sequels. Instead, she chose a small French film with a notoriously difficult director. That takes courage, especially for someone so young. It indicates that Ortega is not content to coast on her popularity; she wants to be challenged and to grow as an artist.
The response from critics and audiences has been mixed. Some praise her ambition, while others worry she might alienate her core fanbase. Social media debates highlight the tension between commercial success and artistic integrity. But Ortega seems unfazed. In interviews, she emphasizes a desire to “do things that scare me” and to avoid “playing it safe.” This philosophy aligns perfectly with Carax’s ethos.
To fully appreciate the risk, one must understand Carax’s filmography. His debut Boy Meets Girl (1984) was a minimalist romance; Mauvais Sang (1986) featured a young Denis Lavant and introduced Carax’s signature kinetic style. Les Amants du Pont-Neuf (1991) was a massive, financially disastrous production that took years to complete but is now considered a classic. Pola X (1999) adapted Melville’s Pierre with disturbing sexual themes. After a long hiatus, he returned with Holy Motors (2012), a film that defies summary. Annette (2021) proved he could work with major stars. Each film is a risk, and Carax has often failed at the box office. But his artistic credibility is unimpeachable.
For Ortega, joining Carax’s universe means surrendering control. Carax is known for rewriting scenes on the fly, using natural light, and pushing actors to emotional extremes. This is not the polished, predictable set of a Netflix series. It is raw, unpredictable, and potentially exhausting. But it is precisely this kind of environment that produces breakthrough performances.
Ortega’s upcoming schedule is packed. The Great Beyond is expected to start filming shortly after Lily May B wraps. She also has a third season of Wednesday in pre-production. Balancing these projects will require stamina and careful time management. Yet, this diversity of roles—blockbuster, series, art film—demonstrates the breadth she is cultivating.
Industry insiders note that Ortega’s decision mirrors that of other young actors who worked with Carax: Kylie Minogue appeared in Holy Motors as a bizarre interlude; Adam Driver sang his heart out in Annette. Those collaborations resulted in memorable, if polarizing, performances. Ortega could follow suit and deliver something that becomes a defining moment in her career.
The title Lily May B evokes a feminine, almost lyrical quality. It might be a period piece or a contemporary drama. Carax has not divulged details, but his films often involve doppelgangers, performance, and the blurring of reality and fiction. Ortega may play multiple roles, as many Carax actors do. The challenge will be to maintain coherence amidst chaos.
Ultimately, Ortega’s gamble is a win-win: even if the film fails commercially, the critical attention will raise her profile. If it succeeds, she enters a new echelon of actors who can headline both genre fare and auteur cinema. The risk is not just professional but personal—putting her reputation on the line for a director known for controversy. But great careers are built on such risks. Ortega’s willingness to take them at 23 suggests she is playing a long game, one that prioritizes legacy over immediate gratification.
Source: Yahoo Entertainment News