FEATURED COVER

ZAZIE BEETZ KICKS ASS, KILLS DEVILS, AND LIVES TO TELL IT.

ZAZIE BEETZ AS IF Featured Cover.

Victor de Souza double-breasted brocade cropped jacket, cotton ruffles blouse | MARLI New York (front earring) Cleo Venus full diamond stud earrings in 18k yellow gold, (back earring) Cleo Huggie earrings in 18k yellow gold with black onyx, (top necklace) Tip-Top full diamond collar necklace in 18k white gold, (bottom necklace) Cleo Rev Midi full diamond pendant in 18k white gold, (left hand) Cleo Venus Gold Midi ring in 18k gold and black onyx, (right hand index finger) Cleo Diamond slim ring in 18k yellow gold, diamonds, and black onyx, (right hand ring finger) Cleo Statement ring in 18k yellow gold and diamonds, (front bracelet) Cleo full diamond slim slip-on bracelet in 18k white gold, (back bracelet) Cleo 2 Link full diamond slip-on bracelet in 18k white gold.

APR 14, 2026

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PHOTOGRAPHY AND WORDS

by TATIJANA SHOAN

@tatijanashoan 

FASHION DIRECTOR

by STACEY JONES

@staceyjjones 

MAKEUP

by TYRON MACHHAUSEN

@tyronmachhausen  

with THE WALL GROUP

@thewallgroup

HAIR 

by IKEYIA POWELL

@ikeyiap

There’s a particular kind of presence that doesn’t need to announce itself—grounded, warm, and quietly electric. Zazie Beetz arrived with an ease that felt immediate, but what lingered was something more playful. On set, she moved with a kind of curiosity, slipping in and out of looks as if they were characters rather than clothes—each one an opportunity to try something on, to explore, to inhabit. There was no sense of preciousness, no distance between her and the process. Just a genuine enjoyment of transformation, of being present in it. It didn’t feel like performance in the traditional sense, but something closer to instinct—an openness to whatever might emerge in the moment —my favorite kind of subject to photograph.

In They Will Kill You, she moves straight into chaos—blood-slicked, absurd, ferocious. She’s not playing at toughness or pushing for effect, but allows her fire to build alongside the stakes. What starts as something grounded and controlled becomes increasingly raw, instinctual, almost animal. It gives the character a credibility that cuts through the spectacle. You believe her—not because she’s trying to convince you, but because each turn is earned. 

Off-screen, that same instinct toward alignment seems to shape the way she moves through her life and career. She speaks less about control and more about calibration—learning how to distinguish between fear and intuition, between the noise of expectation and the quieter pull of what feels right. It’s not a fixed state, but an ongoing negotiation, one that requires both sensitivity and discipline.

There is, too, a duality in her perspective that feels quietly expansive. Raised between Berlin and New York, she understands that identity is rarely singular, that context shifts meaning, that what feels cold in one place might read as honesty in another. It’s a lens that allows for contradiction, for empathy, for a refusal to flatten experience into something easily defined. And perhaps that’s what makes her so compelling to watch. Not simply the ability to transform, but the clarity of her choices. 

After the shoot, we sat down to talk about instinct and alignment, being cast as a badass, growing up between Berlin and New York, and what it means to say no.

“I trained more for stamina than appearance, but stunt choreography is like dance—I’m learning sequences, hitting marks, and it’s very safety-driven. I’m constantly learning.”

–Zazie Beetz–

Victor de Souza Architectural plaid open side gown

AS IF: Zazie, your new film, They Will Kill You, is described as an action, comedy, horror—a total genre-bending collaboration. What was your first impression when you read the script, and was it anything like what you envisioned when you saw the final film?

Zazie Beetz: I think the script really does have the energy of the film. Our director, Kirill Sokolov, has a very specific visual language and tonal POV in his previous two features, and after watching them, I could really transpose that onto the script I had for They Will Kill You.

Visually, I could immediately see what he was going to do with it. I liked that it lived in this slapstick, pop-gore space—it felt like a funny and creative approach to the genre. You get sent a lot of genre scripts, but this one felt different.

With all the practical elements—the puppetry, the cherry-red blood—it had this kind of vintage quality that I really liked. And even though the film has a lighter tone, my character’s stakes felt very real to me. She’s dealing with life and death, trying to find her sister, and carrying guilt and remorse. So, for me, it wasn’t just about running for my life—I felt like I had real emotional work to do, which made it interesting as an actor.

How do you prepare for a character like this—specifically balancing the comedic impulse with the suspense of horror?

That was definitely a conversation—how much should I lean into the comedy? For me, I played Asia grounded and let the world around her carry the comedy. The heightened nature of the other characters and the environment creates that tone, so I stayed quite serious and let that contrast do the work. I focused more on being physical and present, and let someone like Tom Felton carry more of the overt humor.

Let’s talk about stunts. Those are serious stunts—did you do them?

Yeah, I mean, there was a lot of physical prep. I really wanted to build the movement language of the character—how she fights, how she moves. I had to decide: is she precise, messy, aggressive, fluid?

We landed on this boxing-inspired, street-fighting energy—kind of messy, cat-claw-like. I did conditioning first, then trained in New York before heading to South Africa where we filmed. I worked with boxer, Michael Olajide Jr., who’s amazing—and apparently trains all the Victoria’s Secret models, which I find very funny!

Stella McCartney crepe jersey frill cocktail dress in Lilac, and Alter mat mule in hot pink.

Well, your stunts are in underwear, so I see the connection!

I know, it’s so funny. You always wonder how fit you’re supposed to get. I’m very food-motivated—I don’t have the discipline to get “cut.” And honestly, I liked the idea of showing up looking healthy and normal. Maybe a little bit of jiggle. I thought that was aesthetically interesting and important. I wanted to show that you can be ferocious without being sculpted to perfection. That was a conscious choice. There’s also a detail in the script where her clothes don’t fit because she wore them when she was younger. So, in fittings, I wanted things to feel slightly too tight, to keep that sense of realism.

I trained more for stamina than appearance, but stunt choreography is like dance—I’m learning sequences, hitting marks, and it’s very safety-driven. I’m constantly learning. The stunt team is essential. On camera, they’re right there helping me—adjusting, coaching, supporting. I was constantly asking how to do something. They’re a huge part of making it work.

That authenticity comes through. So often you see an everyday character in a film suddenly fighting like a black belt, and you just go with it. But this felt grounded—like adrenaline, like survival.

Yeah, exactly. There’s definitely a “mama bear” energy to her. The whole drive of the film is her trying to reconcile with and protect her sister. That creates this instinctual, almost animal energy to protect my “cub”. I think that’s why even the more extreme moments still feel somewhat believable.

Our director mentioned that some reviews said the fighting looked real, and I was so relieved to hear that. I’m not a fighter, so I really wanted it to feel convincing.

What was it like working with the legend Patricia Arquette?

My God—what a legend. I was so excited when she signed on. Her career and the way she performs are something I would love to emulate. Watching her, you see this power in taking your time—everything feels intentional, like a choice. That’s something I’m working toward—being more deliberate in my movement, my voice, my presence.

I remember her first day on set—she was nervous, and I was nervous because it’s Patricia Arquette! But it reminded me that that feeling never really goes away. It’s part of caring about what you do. She’s also incredibly spiritual, which I love. The way she talks about the world feels very familiar to me—like my mom. So, I felt an immediate sense of comfort with her.

She’s curious, full of wonder—just a really beautiful, interesting person.

Dolce & Gabbana striped poplin trousers, tank, corset, pants, and shearling slippers | Victor de Souza feathered cap.

I want to read one of your reviews that stood out to me. It was written by Brian Tallerico for RogerEbert.com.

The true chaos of it all can be fun for one main reason: its greatest asset isn’t the influences of its makeup/VFX; it’s the fearless Zazie Beetz. Whether she’s beheading someone in her underwear or lighting an axe on fire just to make its impact more memorable, Beetz is a fantastic action hero. And she even does a solid job of carrying the emotional weight of a character with a compelling reason for this journey to Hell: saving her sister, Maria (Myah’la), who she knows lives at the Virgil. Beetz has long been one of the more interesting actresses of her generation, and this flick proves she could carry her own franchise.

Hearing that, how does it make you feel?

Oh my gosh—that is so nice. Wow. That makes me feel really grateful. It’s a very generous thing to write. It’s hard not to be self-critical when you watch your own work. Ira Glass has this quote—I’ll butcher it—but he talks about how you enter a field because you admire what others are doing, but your taste often outpaces your ability at first. And it takes time for those to align. So, it’s almost impossible for me to watch myself without picking it apart—“that moment’s false,” “that’s not working.” There are moments I feel good about, but overall, I often feel like I’m falling short of what I want to represent. So, hearing something like that—it’s just very kind.

Now, I know actors say they don’t read reviews, but how can you not? When I have a photography show, the first thing I do is read them. I brace myself, but I can’t help it.

Yeah, I get that.

Do you really not read reviews? And how do you handle criticism?

If you’re online, it’s impossible not to encounter things. But I don’t actively seek them out—I won’t go looking up reviews myself. Sometimes my publicist or a friend will send something, or I’ll see a headline. Of course, I’m curious—especially if it’s something nice—but I’m very sensitive, and I don’t want to run into something that will affect me. It’s the same with Instagram comments. I’ll read them, but I even shy away from positive ones, because I don’t want to fall into needing validation. For my own balance and sanity, I need to know that what I did was for me—or something I believe in—and that I did my best.

Getting dressed is actually a good example of this for me. It’s a really important, almost spiritual form of expression. I remember when I was 12, my dad gave me this book of Harajuku Street style, and it completely changed how I saw clothing. I’ve experimented a lot since then, and if people don’t like what I’m wearing, it doesn’t affect me—I feel confident in my expression. When I look back at things I wore years ago and wouldn’t wear again, I’m still proud that I expressed myself. It’s similar to work. If I feel aligned with a project and did my best, if someone doesn’t like it, I can live with that. The real pain comes when you’re not aligned—when you know you shouldn’t have done something, but you didn’t. That hurts.

Max Mara oversized sleeveless linen jacket with ruffles in sand | Victor de Souza Tulle elbow gloves with feathers | Zazie’s own denim jeans.

LANDEROS NEW YORK Night Peony gazar suit jacket and palazzo trousers | Jimmy Choo X Noir Kei Ninomiya Star shoe.

I think that’s the fragile world an artist lives in—whether it’s music, acting, fine art, or photography. Artists create through emotion, and it’s created to communicate something. So, where do you draw the line when you don’t want to hear that communication back? It becomes a dialogue, so you have to learn how to distinguish when the ego is talking and when you are in alignment. And at the beginning of the journey, it’s very hard to tell the difference.

I totally agree—that’s such a clear way to put it. When is it ego, and when is it alignment?

I think it’s important to stay clear-eyed and understand the impact of your work, but it’s very hard to separate that from emotion.

There is a saying for actors that an entire audience is clapping for their performance, but they are only focused on the one person who isn’t.

I think we’re wired that way. On a basic level, negativity signals danger—rejection from a group, which historically meant not surviving. So we do fixate on the negative. And when people say, “I don’t care what anyone thinks,” I don’t really believe that. Everyone cares—some people just have a higher tolerance for it. I used to think everyone else was stronger than me, but you see so many people take breaks because it becomes overwhelming. I’ve learned to accept that I’m sensitive—and that’s part of why I’m an actor. And because of that, I choose not to expose myself to everything. I get feedback from people I trust, and beyond that, it’s just too much noise.

You are often cast as a badass—what do you think it is about you that makes filmmakers put you in that role?

It actually baffles me because I’m not a fighter at all—I’m very conflict-averse. Part of it might just be that I’ve been cast that way, and people now associate me with it. But I also think I have a grounded sense of self, and maybe that reads as strength. 

I grew up with my mom, who has a very spiritual, grounded energy—always coming back to something deeper. That has influenced me, and maybe that’s part of what people read as strength.

I also wonder if being a Black woman plays into that perception. I’ve been told I can come across as intimidating—which is funny, because I’m not trying to do that.

“I feel confident in my expression. When I look back at things I wore years ago and wouldn’t wear again, I’m still proud that I expressed myself. It’s similar to work. If I feel aligned with a project and did my best, if someone doesn’t like it, I can live with that.”

–Zazie Beetz–

You said it—being grounded, holding awareness of spirit, earthiness. We’re all influenced by these deeper, almost archetypal ideas of strength. Think of Artemis—grounded, goddess of the hunt.

Yes.

When you see a woman fight, you want to feel that she’s that mother lion. You want to believe she can win while feeling protected by her.

Yeah, totally.

You carry that energy.

Maybe that’s what people read. 

What does challenging yourself look like?

Oh, that’s a really good question!

For me, it means pushing against my comfort zones—physically, mentally, and socially. I’m naturally introverted and love being at home, so it’s easy for me to stay in what feels safe. This film challenged me physically—I don’t love working out, but showing up for that discomfort and realizing I can do it was important.

I’ve also challenged the idea I had about myself that I’m a night person. I started booking early morning workouts just to see what would happen, and it shifted how I think about my own limits. And socially, it means showing up even when I don’t feel like it. I can default to old friendships because they’re easy, but if I want meaningful relationships, I have to make the effort.

So, for me, challenging myself is about questioning the narratives I have about who I am—and choosing to move past them.

I love that. Early on in your career, you spoke about struggling to assert your instincts. What happens now when something doesn’t feel right?

I’ve gotten better at being direct about what I’m drawn to—and what I’m not. I’m also more direct on set about what I need. That comes with experience, but also with the position you’re in. I’m lucky now that I can ask for more. And I understand how different that feels when you’re not in that position. That’s why generous leads matter—people who advocate for others, who help create an environment where everyone can find their voice.

It’s still a journey, though. Instinct can be muddled. I don’t always know the difference between gut instinct and anxiety. Sometimes what feels like instinct is actually fear. And following your real instinct can be scary—it can feel like it might disrupt everything. So, I try to follow that, even when it’s uncomfortable.

AKNVAS Edel cocktail dress | Jimmy Choo Sacora satin sandals | Victor de Souza gold brooch.

“I’m naturally introverted and love being at home, so it’s easy for me to stay in what feels safe. This film challenged me physically—I don’t love working out, but showing up for that discomfort and realizing I can do it was important.”

–Zazie Beetz–

What do you say no to today that you wouldn’t have said no to earlier in your career?

Early on, I would have said yes to everything. Now, even having the ability to say no feels like progress. If I don’t feel a project in my heart, I try to honor that—even though there are always so many variables. A great director, a strong cast, a good script, but a weak role—it’s rarely black and white. But I come back to this: I’m the one who has to live with it. I’ll have to talk about it for years, stand behind it publicly. So, I ask myself—am I willing to do that? If not, it’s probably a no. Trying to find something positive to say about something you don’t believe in is emotionally exhausting. So now I ask: do I want to do that work? And often, the answer is no.

Okay—one last question. How has growing up between Berlin and New York shaped how you see yourself and the world?

I think it’s made me more empathetic. Being the other in different spaces has given me a lot of grace for people. If someone makes a choice I don’t agree with, I try to understand where it comes from. It opens me up to more compassion.

I see it even within my own family—how different contexts shape behavior. In Germany, especially with older generations, there’s a more direct, sometimes colder approach to social interaction, which can feel jarring. Even my dad, who lived in the U.S. for decades, goes back and says, “Why are people so rude?” But when he first moved to the States, he thought Americans were fake. Over time, that shifted. It made me realize that what one culture sees as rude, another just sees as normal. It’s all context. For example, in the U.S., we tend to give people the benefit of the doubt—we engage, we see where it goes. What one culture perceives as rude, another doesn’t. It’s all context. Whereas in Germany, when you do connect, it feels very genuine, because there’s no pretense. It’s just two different ways of being, and I see that playing out in all aspects of life.

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