Paul Mescal is one of the rising stars among the current generation of movie actors. However, his career trajectory differs from that of his same-age contemporaries like Asa Butterfield, Lucas Hedges, and Tom Holland. After gaining theatre experience in Dublin and London, Mescal got his big breakthrough in “Normal People,” a coming-of-age romance drama series based on Sally Rooney’s 2018 novel of the same name. It became a global sensation during the Covid pandemic. The Hulu series put both him and his co-star, Daisy Edgar-Jones, in the limelight, who has recently starred in “Twisters,” one of the year’s defining summer blockbusters. Like her, Mescal is also set to venture into big-budget projects like Ridley Scott’s “Gladiator 2,” where Mescal is expected to share screen space with Pedro Pascal & Denzel Washington.
Before such large-scale projects, Mescal had often chosen indie films with a lot of heart. After a small part in Maggie Gyllenhaal’s “The Lost Daughter,” he gave a chilling performance in Saela Davis & Anna Rose Holmer’s “God’s Creatures.” However, he received the most praise for his work in Charlotte Wells’ harrowingly personal “Aftersun,” which also earned him a surprising but well-deserved Oscar nod. Besides films, his work in the newest adaptation of “A Streetcar Named Desire” has been a topic of discussion. On top of that, he has new films in the pipeline with Richard Linklater, Oliver Hermanus, and presumably with Sam Mendes as The Beatles’ Paul McCartney.
Mescal has carved a place for himself within just a few years with his evocative performances. Here’s the ranking of his works in movies until now:
7. Carmen (2022)
Benjamin Millepied’s ”Carmen” (2022) explores an intense romance that feels fated to be doomed from the get-go. It is a Bonnie-and-Clyde-esque reiteration of a love story between outlaws. However, it is also a musical film filled with intricately composed music & dance performances. The film’s clear highlight is Nicholas Britell’s evocative compositions that present a fine blend of classical opera, East European, and West African music. It adds another feather to Britell’s cap after his poignant work on TV shows like “Andor,” “Succession,” and the Barry Jenkins projects.
In “Carmen,” Paul Mescal’s performance is far more physically demanding than his other roles. Here, he needs to express passion, aggression, and vulnerability through his agile body language. It pushes him to explore something beyond his restrained acting style, making him access something primal and kinetic. Simply because of that distinction, this film is worth viewing. Of course, if you’re a Mescal completist, you would want to watch it. However, the script doesn’t provide him with enough material to examine his character’s psyche.
It also feels underwritten despite being about an American rebel falling insatiably for a Mexican immigrant. There’s only so much Mescal can do to explore his socio-political identity. So, at times, he appears lackluster as compared to his dynamic co-star Melissa Barrera, who graciously performs her steps while he merely stands aside.
6. Gladiator 2 (2024)
The first “Gladiator” film (2000) introduced Russel Crowe’s talent to a wider global audience. It followed the hopes and dreams of realizing the ‘dream that was Rome’ through the eyes of a fearless warrior and an entitled heir to the throne. Now, more than two decades later, filmmaker Ridley Scott returns with a sequel that follows the brave warrior’s son, Lucius/Hanno, who gradually contemplates his past as he embarks on a journey to seek justice for his people. He returns to the heart of the Roman empire as a slave.
The script in “Gladiator 2” is the weakest link in the film and appears more as merely connecting tissue for its scenes of epic spectacle. As a viewer, you don’t feel the same heartfelt concern for the survival of the empire and its common people as you did in its predecessor. It may have to do with its script changes, like unceremoniously cutting an entire role written for May Calamawy and keeping her as a background presence in just a few frames, presumably to fit the studio’s demands for a successful blockbuster instead of a coherent narrative. Instead of being a film depending on a script, it becomes a film relying on its actors’ bankability.
Besides Connie Nielsen reprising her role, the sequel stars legendary Denzel Washington, Pedro Pascal, Joseph Quinn, and Fred Hechinger. While Quinn and Hechinger become the worthless and foolish heirs to the throne, Washington becomes the central attraction as a slave master Macrinus. Although the film reveals its real-life parallels to present-day political hell across the globe, it is not nearly as compelling as its predecessor. Apart from Washington, Quinn, and Hechinger, the performances feel woefully unremarkable.
Lucius, who also seeks revenge like his father, does not feel nearly as convincing as a righteous warrior despite Mescal’s much bulkier physique for this role. Mescal channels the rage seething underneath his near-stoic exterior but fails to leave the lasting impact as Crowe previously did. Although he excels in conversational scenes with Washington’s character, showing his life’s philosophy, he does not embody the grit or the fury to make him the monumental underdog figure in the empire.
5. The Lost Daughter (2021)
Maggie Gyllenhaal made her feature directorial debut with “The Lost Daughter” (2021), giving us a glimpse into her filmmaking capabilities. She adapted Elena Ferrante’s layered story into a poignant tale that mainly explores the struggles of motherhood. It follows an accomplished writer-professor, Lena, on a summer break trying to work on some new material. She observes things, people, and situations around her. They take her back to her painful memories and make her reflect on her past guilt, fear of abandonment, and self-fulfillment.
In the central role, Olivia Coleman gives a captivating performance. She conveys the plight of a female writer caught in the societal expectations of being an ideal mother and a partner while trying to fulfill her goals as a writer. Besides her, we see other portraits of mothers through Dagmara Dominczyk and Dakota Johnson’s characters. It builds a richer understanding of motherhood beyond the usual cliches. Paul Mescal, who plays 24-year-old Will, mostly operates as a catalyst in Coleman’s & Johnson’s character stories. He has fewer regrets than them and appears to mirror their immediate hopes. Through Mescal’s performance, we get a sense of Will’s personality and duality, even though he is present in only a couple of scenes. However, this performance pales in comparison to what he has achieved in his other roles.
4. Foe (2023)
Garth Davis’ “Foe” (2023) follows Hen and Junior, a married couple battling a rough patch. One day, a stranger knocks on their door with a surprising proposal that can change their lives for the better. However, it can result in other complications beyond the usual conflicts in their relationship. Based on Iain Reid’s novel, the script presents a psychological, slow-burn drama with some science fiction elements. It explores the newer possibilities of romantic and emotional relationships in the future and how they would impact the couples in question.
“Foe” is, unfortunately, a misfire. It gradually builds up to a moment of reveal that fails to make a spiritual impact as it intends to. Still, it is quite arresting for a good chunk, solely because of Saoirse Ronan and Paul Mescal’s commitment to their performances. Even though “The Lost Daughter” is a far superior film, Mescal gets to explore far more as Junior. Here, he has to portray Junior’s internal chaos through his different versions as he grows and acclimates to his new reality. Although more performative than his other works, Mescal still shows his keen understanding of the human psyche as he explores frustration, heartbreak, and impending doom. It is a shame that he is wasted in such a muddled film.
3. God’s Creatures (2022)
“God’s Creatures” (2022) is a somber psychological drama that follows a mother processing her son’s return from Australia. The two have an endearing relationship, and you can sense how much she adores him. However, a scandalous incident makes her question his charming personality and confront some harsh truths. The veneer of joyous surprise slowly fades as she begins to scrutinize the strength and the validity of their affection. At its core, the film is about how time and distance affect people and the relationships they share. It can change people into absolute strangers.
Emily Watson’s performance is the clear highlight of “God’s Creatures.” She is brilliant as someone bearing the loss of her son as she learns things about him beyond their endearing bond. The film shows her questioning her morality through a gut-wrenching journey. Besides her, Aisling Franciosi’s performance deserves a mention as a person who oscillates between submission and remission from her emotional pain. Then, there’s Mescal, whose Brian becomes the center of this morality tale as he tries to rejuvenate his past while trying to skim past the recent, unflattering chapters of his life.
Mescal gets to flex his acting muscles as unlikeable Brian and present this man’s dual nature with uncommon subtlety. Only a smudge here and there could have ruined the film. But Mescal’s chilling performance maintains the balance in this polarizing character who tries to diminish the gap between the façade and the truth.
2. All of Us Strangers (2023)
Andrew Haigh is a gifted filmmaker who has shown his writing & directing expertise through films like “45 Years,” “Weekend,” and “Lean on Pete.” With “All of Us Strangers,” he follows a magic realist family drama with a romantic narrative arc. It follows Adam, a screenwriter in London who crosses paths with Harry, a neighbor from his near-empty apartment building. As their romance blooms, Adam finds himself drawn to his childhood home, where he lost his parents as a child. In the present, he finds them still living there as if nothing ever happened.
Adapted from Taichi Yamada’s Japanese tale, the film is a heartbreaking drama where the romance hits like a sucker punch. Andrew Scott is an acting powerhouse who elevates it to a profound meditation on loss and grief. While Claire Foy and Jamie Bell also deserve their flowers, Mescal is both endearing and devastating as the central force that helps Adam with his emotional healing. As Harry, Mescal shows a man haunted by his past, which leads to his fear of abandonment and seeps into their relationship. He navigates Harry’s messy journey toward a liberating acceptance while being a supporting pillar in Adam’s familial conflict.
1. Aftersun (2022)
In barely four years of his career, Paul Mescal did not work on any big-budget, conventional juggernauts. Still, he gained a lot of fame due to his evocative performances that touched a lot of viewers across the globe. “Aftersun” is his career-defining film, earning him his first Academy Award nomination. This is surprising and unorthodox since it is an Independent film that doesn’t follow Hollywood filmmaking conventions. It is a feature directorial debut of Charlotte Wells and stars no actor who is widely popular otherwise. Still, its strong emotional hold led this Irish man, barely in his mid-20s, to an incredible but well-deserved honor.
In “Aftersun,” Mescal plays Calum, a young father who travels with Sophie, his tween daughter, for a vacation. The film shows events from this time through Sophie’s eyes as she recalls her fading memories of their last holiday together. Charlotte Wells’ directorial style presents this family drama like a hypnotic time capsule that feels incredibly raw and personal. It bears the essence of early fatherhood and the burden of adulthood devoid of any melodrama. Simultaneously, it works as a coming-of-age tale for the father and daughter, who are in their awkward phases of transition.
Despite the pathos in Calum’s life, Mescal’s performance is incredibly restrained and painstakingly mature. For a film documenting a father and daughter’s time spent together, his performance makes a lot of difference. Through the fleeting moments of shared affection, he presents a portrait of someone we have either seen or been.
