Berlin Rising Star Théodore Pellerin Is Making a Lasting Impression in Buzzy ‘Lurker’

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Theodore Pellerin, who might be familiar to you from a screen close by (we assure you, you’ve recognized him before), attributes his rise as one of Canada’s top character actors to an early three-picture partnership with Quebec filmmaker Sophie Dupuis in independent films.

For the first time, it felt as if I was soaring, almost ethereal – though I hesitate to use such spiritual terminology – when I was performing in my lead role for Dupuis’ 2019 drama, Family First. In that moment, I experienced a profound sense of freedom. (Pellerin shares with The Hollywood Reporter)

The tall man from Quebec, reflecting on his role as the unruly, violent character of Vincent in Family First, admitted that at times, playing this part had unsettling effects. “There were instances when I felt a bit nervous,” he confessed, “because the character is violent by nature and enjoys being so. It was during these moments that I would think to myself, ‘I need to distance myself now, as I can still sense the lingering impulses of sadism, even after the scene has ended.’

However, the inner conflict eventually led him to act in Netflix’s “There’s Someone Inside Your House”, AMC’s “On Becoming a God in Central Florida” alongside Kirsten Dunst, Apple TV+’s “Franklin”, and “Becoming Karl Lagerfeld” on Disney+.

During breaks from his Hollywood roles and returning to Montreal, Pellerin featured in two more Dupuis films produced in the French language – “Underground” released in 2020 and “Solo” in 2023. This partnership, he emphasizes, propelled his career not just beyond Quebec but also into France.

He remembers that meeting as exceptionally significant and formative in his life,” he says. “At 19, I made my first film alongside Sophie. It was an extraordinary experience because the role was thrilling and she was incredibly nurturing, which created a liberating atmosphere for us actors.

In the book “Becoming Karl Lagerfeld”, Pellerin portrayed a figure who was closely associated with the famous fashion designer Jacques de Bascher for almost two decades. This role demanded that he delve into two distinct aspects of his own personality.

He expresses his deep fondness for the show, finding the character of Jacques de Bascher captivating. De Bascher was indeed a compelling individual, often drawing strong reactions, a blend of goodness and darkness. He believes that these two aspects were constantly at play.

At the age of 21, Pellerin found himself working alongside Dunst in the series “On Becoming a God in Central Florida” which challenged him as he communicated in English, his second language after French.

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In the series “On Becoming a God in Central Florida“, at age 21, Pellerin faced an unfamiliar territory when he spoke in English, a language that ranked second to French for him, as he shared the screen with Dunst.

He shares, “It was my initial long-term TV production in America, starring Kirsten Dunst. At that point, I hadn’t been away from home for such an extended period to work on something. I had worked on films for a month or two, but this time I was going to be in the U.S., specifically Louisiana, for six months. Plus, my English skills weren’t fully developed yet. That added an element of risk to the whole experience.

In the movie “Franklin”, when he shared the screen with Michael Douglas, Pellerin remembers adorning himself in ornate French aristocratic attire, a practice he claims significantly boosted his acting abilities.

As I reflect back, the costumes were nothing short of extraordinary, playing a significant role in shaping my perception and movement on set. The affection I have for costume designers, coupled with the joy of collaborating with them, is incredibly inspiring. It adds such richness and depth to the process of preparing for a movie.

In the case of Solo, Pellerin’s third film featuring Dupuis, it was no different. Here, Pellerin directed a movie where Dupinus portrayed a drag artist in Montreal. This role required him to don wigs, extravagant costumes, and even high heels. Yet, Pellerin relished the challenge this unique part presented.

He shares that an intriguing aspect of the process was exploring his own femininity, rather than adopting it externally. This character thrives when performing onstage, dressed in a wig, makeup, and tight dress. To convincingly portray this role, he had to embrace being very feminine wholeheartedly. Consequently, it was about finding or rediscovering comfort and pleasure in that femininity.

Next up is “Lurker,” Alex Russell’s first feature film, making its appearance in Berlin following its world debut at Sundance. In this drama, Pellerin assumes the role of Matthew, a somewhat geeky admirer who manages to insinuate himself into the inner circle of an up-and-coming pop sensation, Oliver, portrayed by Archie Madekwe.

As I delve into this captivating game world, I find myself reflecting on a character named Matthew, skillfully portrayed by Théodore Pellerin with a sinister innocence that keeps me hooked. This character seems to be more than just a friend or a sidekick to the enigmatic singer, known simply as Oliver. It feels like he’s my buddy, my fellow player, my creative partner. There’s an aura around Oliver that everyone in this virtual world craves to be close to, but Matthew seems to yearn for it most fervently.

In his second viewing of the film “Lurker” at the Berlinale, Pellerin may find some comfort as he acknowledges his discomfort with watching himself on the big screen. He describes this sensation as peculiar since films are a medium for projection and we often project our own interpretations onto the actors onscreen. The first time he watches a movie he’s in, it’s challenging because he can’t fully immerse himself in the experience. However, he suggests that with repeated viewings, such as the second or third time, he becomes somewhat capable of seeing the film objectively.

Next on Pellerin’s agenda is “Nino”, a debut directorial effort by Pauline Loquès, filmed in Paris and completed in December. Although he resides in Montreal and endeavors to work on one or two projects there annually, Pellerin acknowledges that his upcoming assignments are likely to require him to travel, which he finds acceptable as it’s about the quality of the material.

He emphasizes that it’s essential. The focus isn’t on territories; instead, it’s about the content (writing) and the individuals involved. Whether it happens in Quebec or any other location, these aspects are truly significant.

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2025-02-15 16:24