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Welcome to Maika-Monroe.Org your #1 fansite for the beautiful and talented
actress. Most recently known for playing Patricia Whitmore in Independence Day:
Resurgence (2016) and previously known for playing Jay in It Follows (2014) and
Anna in The Guest (2014) but you may also know her from her work in Labor Day
(2013) and At Any Price (2012). Maika also starred as Ringer in The 5th Wave
(2016) last year, and up next Maika will star in Felt (2017) with Liam Neeson
and I'm not Here (2017) with J.K. Simmons. Please browse and visit our image
gallery while we will continue to bring you daily Maika updates xoxo


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A young woman moves into a new apartment with her fiancé only to be tormented by
the feeling that she is being stalked by an unseen watcher in an adjacent
building.
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03.29.2022
2022 Vanity Fair Oscar Party
Jess / 0 Comments / Events • New Photos

Public Appearances > 2022 > March 27: 2022 Vanity Fair Oscar Party

09.02.2021
Maika Joins “Significant Other”
Jess / 0 Comments / Movies • News


> ‘WHITE LOTUS’ STAR JAKE LACY AND MAIKA MONROE TO STAR IN PARAMOUNT PLAYERS’
> ‘SIGNIFICANT OTHER’
> 
> DEADLINE – EXCLUSIVE: Following a heated bidding war, Paramount Players has
> landed the package Significant Other with Maika Monroe and Jack Lacy on board
> to star. Dan Berk and Robert Olsen will direct and also penned the script. Dan
> Kagan is producing.
> 
> The logline is under wraps, but the project is described as a sci-fi thriller.
> The film will debut exclusively on Paramount+.
> 
> 
> Read More


05.09.2021
Gallery Update: Public Appearances
Jess / 0 Comments / Events

Hi, Maika fans! I’ve updated the gallery with photos of Maika attending various
events from 2018 to 2020. Check them out in the gallery. Stay tuned for more
updates soon!






Public Appearances > 2018
Public Appearances > 2019
Public Appearances > 2020

03.16.2021
Maika Joins Thriller “Watcher”
Jess / 0 Comments / Movies


> MAIKA MONROE, KARL GLUSMAN JOIN CHLOE OKUNO THRILLER ‘WATCHER’
> 
> VARIETY – U.S. actors Maika Monroe (“It Follows”), Karl Glusman (“Nocturnal
> Animals”) and Burn Gorman (“Enola Holmes”) are attached to star in
> psychological thriller “Watcher,” directed by Chloe Okuno, which starts
> shooting this month.
> 
> The previously announced film marks the feature film debut of Okuno, director
> of the award-winning AFI short film “Slut,” centered on a naive young girl who
> becomes the target of a murderous sociopath when she attempts to reinvent
> herself to impress the boys in her small Texas town.
> 
> “Watcher,” according to promotional materials, follows young married couple
> Julia (Monroe) and Francis (Glusman) as they move into a new apartment
> together in Bucharest, just as a citywide panic is brewing over a possible
> serial killer on the loose. Julia, who finds herself isolated in her new
> surroundings, becomes increasingly tormented by the belief that she is being
> stalked by an unseen watcher in the adjacent building.
> 
> The film is being co-produced by Abu Dhabi outfit Image Nation and Spooky
> Pictures, which is the low-budget genre label recently formed by producers Roy
> Lee (“The Ring”) and Steven Schneider (“Pet Sematary”).
> 
> “Watcher” marks the second time Schneider has collaborated with Image Nation
> Abu Dhabi, following their collaboration on Arab dystopian thriller “The
> Worthy.”
> 
> “Watcher” is based on an original spec by Zack Ford (“Girls’ Night Out”). In
> addition to Lee and Schneider, pic will be produced by Derek Dauchy, John
> Finemore, Mason Novick, Aaron Kaplan and Sean Perrone. Stuart Manashil, Rami
> Yasin and James Hoppe will executive produce.
> 
> Monroe is repped by WME, Management 360 and Felker Toczek Suddleson Abramson.
> Glusman is repped by WME, Ilene Feldman and Ziffren Brittenham. Gorman is
> repped by Gersh, Hamilton Hodell and Management 360.
> 
> Okuno is repped by UTA and Jackowa Tyerman Wertheimer. Ford is repped by UTA
> and Novo Entertainment.
> 
> Cinetic is handling the U.S./North American rights to the film, while AGC
> International, the international sales and distribution arm of Stuart Ford’s
> AGC Studios, will handle sales for rest of the world.


11.19.2018
Maika for FLAUNT
Jess / 0 Comments / Magazine Alert

Maika Monroe is patient with me. My iPhone 5 is on its last legs, liberally
censoring an already stilted conversation between two strangers (three if you
include her manager). Monroe’s voice is cool
and self-assured, with a shade of
sweetness that fluctuates somewhere between hesitation and modesty. Perhaps this
is an adaptation of 
media training, a way to circumvent the extraneous prying
questions of another caffeine-addled journalist on a 10 a.m. call. The sweetness
feels a little evasive at times, but maybe she’s shy. Or maybe she’s a genuinely
kind person, and amidst my phone-fumbling anxiety, I am reading too much into
it. I catch ev-ry oth-r w-rd as her voice crackles in and out, so I spastically
swing my arm around until I find that sharply angled sweet spot between AT&T and
outer space. When I hit it, her voice erupts into the room with alarming
clarity—“My mom is a sign language interpreter and my dad is a general
contractor, so they are really far away from anything in the arts.” Thank god.
She’s still at the beginning. I only missed the previews.

At fourteen years old, Santa Barbara-native Monroe was taking dance classes
while in hot pursuit of a career as a professional kite- boarder. But when the
casting directors for Bad Blood (a schlocky horror flick with a nearly
un-findable IMDB page) contacted Monroe’s dance studio requesting teenage extras
that could swing dance, she found herself suddenly positioned on a new
trajectory. “It was one of those moments in your life that changes everything.
You’re on one path—at least it seems like you are—and then a moment changes
everything.” She was quickly hooked on moviemaking. “We got to see all the fake
gore. It was fascinating to watch. I would hang out with the director 
and watch
the monitors, and I thought it was so cool. After that, I was like, ‘Oh, I want
to try to do this!’” So Monroe gave it a try. A handful of years later, she
found herself at Cannes Film Festival for her lead performance as Jay in the
acclaimed indie horror hit It Follows.

Although Bad Blood was her first taste of acting, Monroe was no stranger to the
world of cinema. As a daughter of a film-buff dad, she was watching Kubrick
films long before getting her driver’s permit. Unlike myself, who walked away
from The Shining with a newfound fear of bathtubs, Monroe came away with a
lifelong crush on Jack Nicholson. “One Flew Over the Cuckoo’s Nest was really
influential to me. I remember seeing that and thinking, ‘Oh my god! This is
insane!’” Her performances in the horror films It Follows and The Guest resulted
in her coronation as a ‘scream queen’ by film critics. Her fluency in the horror
genre may be, in part, influenced by her lifelong study of Nicholson, of his
charming composure that masks Rube-Goldberg-esque machinations of madness—the
barometer of said madness being best measured in the degree of his pointed
eyebrows. Although her roles so far might align her with the Shelley Duvall camp
of 
the female character fleeing in terror from an evil force, she adopts
 a
more Nicholsonian approach in her performances: a composure 
and determination
that adds agency to what would otherwise be the “screaming damsel” role.

Ten years ago, the title of “scream queen” would have been a something of a
backhanded compliment. With most horror films occupying the “cheap thrills” seat
in the cinema canon, genre-actors were often subject to a double standard, where
an otherwise strong performance might be seen as campy or amateurish because of
the perception of horror as being somehow lowbrow. Even The Shining was panned
by many critics when it was released—Nicholson’s performance was called
“idiotic,” Duvall was lambasted as a “semi-retarded hysteric,” and Kubrick’s
vision was accused of “cheapening” King’s original story. After It Follows
became one of the rare horror films to earn a place at Cannes, the tides began
to change—now, horror is invading the art house indie scene. Monroe is fortunate
to be unbound by the antiquated criticism of horror, but her ascent has not been
without its obstacles. “I definitely feel that there’s a double standard in
Hollywood. I remember people telling me that for women, you have to make it by
the time you’re 25, while for men it kind of doesn’t really matter. I always
thought that was so frustrating that people would say that to me. So many times
in movies a guy is 40 and the girl that he’s dating is 20. It’s annoying.” Amen.
Remember Mrs. Robinson? That iconic, lusty cougar played by Anne Bancroft in The
Graduate? Bancroft was 36 and Dustin Hoffman (playing a recent college graduate)
was 30 years old. So, here’s to you Mrs. Robinson.



“Acting is everybody’s favorite second job.” Another truism from the book of
Nicholson. At
seventeen, while she was still 
flirting with the idea of acting,
Monroe moved to the Dominican Republic to pursue a career as a professional
kite-boarder. But when she landed the starring role of Mandy in Labor Day, she
was forced to choose between her first and second favorite job. Ultimately, the
seduction of Hollywood drew her back to the golden coast. Although she left the
world of kite-boarding, her disciplined athleticism is one of her greatest
assets as an actress. She performs the majority of her own stunts in action
films like 2016’s Independence Day: Resurgence, the surfing film The Tribe of
Palos Verdes, and the Netflix sci-fi thriller Tau—roles that have brought her
right to the cusp of household-name stardom. Her IMDB page sports an impressive
27 films, with seven stacked to release in 2018-19 alone. So what can we look
forward to? A drama entitled Greta co- starring Chloë Grace Moretz and Isabelle
Huppert. A stylized home invasion thriller called Villains alongside fellow
horror It-boy Bill Skarsgård. She also touches upon Shia LaBeouf’s new film,
Honey Boy—a masturbatory, delightfully Freudian project in which LaBeouf plays
his own father and Lucas Hedges plays a young Shia. I sincerely can’t wait.

In her most recent film, 
Monroe was cast as the Cape Cod 
heart-throb McKayla
Strawberry in A24’s Hot Summer Nights. The film is a genre-spanning, early ’90s
period piece following the lives of teenagers in the summer months before
Hurricane Bob. The pathetic fallacy of 
the eminent hurricane serves as the
backdrop for protagonist Daniel (Timothée Chalamet), who gets in over his head
dealing weed with the roguishly handsome neighborhood bad-boy Hunter Strawberry
(Alex Roe). Hunter, like most machismo-driven grease monkeys, is wholly
insensitive, yet hyper-protective of his younger sister McKayla, who Daniel
inevitably falls for. The story is told in the style of the The Virgin Suicides:
an unseen adolescent boy narrates the film’s action with the nostalgic fanfare
of suburban legend. Older teens are deities. The line is blurred between truth
and fiction.

We all knew a McKayla Strawberry, a girl whose small-town mythology gave her the
aura of celebrity. In one scene, McKayla sticks her gum to the underside of a
mailbox. As soon as her back is turned, a local boy eagerly peels it off and
puts it in his mouth. How do you embody such a magnetic character? In Monroe’s
opinion, it was about understanding McKayla’s vulnerabilities. “There are
glimpses of the character when she talks about her past, and for me, if I lost
my mom at the age of 12 or 13, it would really change who I am right now…
there’s a certain toughness, and a sense of just growing up too fast.” So
vulnerability is the key to aura? Vulnerability seems like half an answer: it’s
too passive, too safe. There is an active ingredient in her performance that she
doesn’t address. In a defining scene between Monroe and Chalamet, Daniel is
sucking on a red lollipop when he 
runs into McKayla in the aisle of a hardware
store. With the cinematic fanfare of Phoebe Cates emerging from the pool in Fast
Times, the slow motion camera closes in on McKayla’s face as she takes the
lollipop out of Daniel’s mouth, gives it a prolonged suck while starring
straight down the barrel of the camera, and puts it right back in his mouth.
“When we filmed it, I wasn’t even looking at Timo, just our DP Javier. It wasn’t
sexy or cool at all.”

Lollipops aside, we discuss the unmistakable chemistry among the cast of Hot
Summer Nights. Filming in Atlanta with the entire cast living in a house
together, “it felt like summer camp.” A unique aspect of the production:
everyone who worked on the film—cast, producer, and director—were all under
thirty while filming. Directing his debut film, Elijah Bynum was actually only
one-year-old during the year in which the film takes place. Between Stranger
Things, It, and Hot Summer Nights—what is the millennial fascination for the
’80s and ’90s? Why do we have nostalgia for a time period we didn’t live in?
“For me, the biggest thing that has happened in
 this generation is technology.

It makes me miss a time of sending letters. Just always being connected, and
all this information is so immediate. 
I think about being in a time where you
read the newspaper and if you’re in a relationship and you go on a trip you
can’t text and talk all the time. I don’t know if it’s that way for everyone,
but it seems like such a huge change that we’ve had.” With smartphones in
existence, modern story telling lacks the suspense and mystique 
at the core of
all comedy and tragedy. Would we have a third act of Romeo and Juliet if the
Friar could SMS our star-crossed lover about his roofied young bride? If James
Caan’s character inMisery had “find your friends” on his iPhone? 
If the killers
in Scream had caller ID? “I totally agree, it’s too easy!” Monroe laughs as
 we
lament the loss of narrative intrigue through good ol’ fashioned
miscommunication. I smile to myself, reminded of the technological difficulties

at the top of our conversation. Maybe our miscommunications added just a shade
of intrigue to an otherwise uneventfully pleasant exchange? Maybe not.

With such a rookie team at the helm of a big-budget production like Hot Summer
Nights, I ask Monroe if she thinks this hints at a greater shift in the
entertainment industry. “I think the next generation is going to start”—she
searches for the right word—“I don’t want to say “taking over” because that
sounds negative—but I think the way that movies are made is rapidly changing.
Now with TV and streaming services it’s just a different world. I feel like we
have these amazing actors, like Leonardo DiCaprio and George Clooney and Meryl
Streep, and I think it’s time for the young blood to come up. It’s exciting.”

From Bad Blood to “young blood,” Monroe finds herself at the
edge of an evolving
cultural conversation. Monroe’s generation has the future, or should I say their
iPhones, at their fingertips. When all the banality and horrors of our modern
world are democratized by a single screen, it’s no surprise we long for a
simpler time. Or perhaps it’s more accurate to say: with a reality TV star as
our president, the gap between satire and cinema verité is rapidly disappearing.
As a result, the genre of “horror” has developed a subtlety that hits
ever-closer to home. Is that too fatalistic a note to end on? Have I gone off
track? I just hope to live in a world where a 36-year-old fox like Anne Bancroft
doesn’t waste her time with a dud like Benjamin Braddock.


09.15.2018
TIFF 2018: Deadline Interviews “Greta” Cast
Jess / 0 Comments / Articles & Interviews


> “SHE’S A MONSTER”: ISABELLE HUPPERT ON PLAYING A PSYCHOPATH IN NEIL JORDAN’S
> “WEIRD” THRILLER ‘GRETA’ – TORONTO STUDIO
> 
> DEADLINE – A surprise hit at this year’s TIFF was Neil Jordan’s Greta, a
> female-centred thriller in which Chloë Grace Moretz plays a young girl who
> falls prey to an older lady named Greta (Isabelle Huppert) after finding her
> handbag on the subway. Although the reviews were kind, none exactly made
> claims for great art, so it was a relief when Jordan and his cast—Moretz,
> Huppert and co-star Maika Monroe—arrived at the Deadline studio with a healthy
> sense of humor about it.
> 
> Said Jordan, “The script that was sent to me was kind of like a generic
> Hollywood thriller, and what appealed to me was that the men in it were
> useless, and the women saw things [differently] amongst each other, in all
> sorts of interesting ways. But then I began to rewrite it and change it into
> something slightly weirder. It’s about obsession, captivity, romance, need and
> desire.”
> 
> First up was Moretz, who explained her role as the catalyst of Jordan’s story.
> “I play a young woman named Frances,” she said, “and she’s moved to New York
> City with her best friend. Basically she has this massive hole in her heart
> from the loss of her mother. She finds a handbag, and, as a good Samaritan
> does, she decides to deliver the handbag back to the wonderful Greta, and they
> have a really, really incredible relationship—in the beginning. They really
> understand each other—seemingly—and Greta fills that mother kind of role for
> her.”
> 
> The immaculate Huppert then gave her own interpretation of the mysterious
> Greta. “She’s very lonely woman living in New York,” she said. “We don’t
> exactly know where she comes from, there’s some kind of uncertainty about her
> origin. I mean, she’s supposedly French, but also she speaks Hungarian. She’s
> a liar. We’re going to find out that she’s a great liar. It was interesting
> for me to do it because she’s a real evil character. She’s a real monster.
> There’s nothing to save her, nothing to justify her behavior except maybe her
> quest for friendship, for love.”
> 
> Jordan put it more simply. “She’s a psychopath,” he said, “who hides in plain
> sight.”


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