Estella Kahiha

Estella Kahiha’s been popping up in projects that actually stick with you. Let’s start with “The Woman in the Yard” (2025). It’s got this weird, hypnotic pull—something about a woman, a sun-bleached yard, and secrets that just refuse to stay buried. Kahiha’s performance is raw, almost like she’s channeling every emotion in the book, which makes all the strange tension in the film feel way too real. There’s this unsettling calm, but it’s like you’re waiting for a storm that never quite breaks. She pulls you in; you can’t look away. Now, “Undercard”—that one’s a whole different vibe. Less dreamy, more punch-you-in-the-gut real. It’s gritty, it’s tense, and Kahiha isn’t afraid to get her hands dirty, metaphorically or literally. You get caught up in the messiness of ambition, fighting your way through life’s underbelly, and she sells every second of it. The way she delivers even the simplest line, you just know there’s a mountain of backstory behind those eyes. And then there’s “The Storied Life of A.J. Fikry” (2022). This one’s a bit softer, more whimsical. Kahiha’s role here is like a breath of fresh air—a little quirky, a little heartfelt. She brings warmth to the screen, balancing the melancholy with hope. It’s the kind of performance that makes you believe in second chances, even when life gets messy. Honestly, she’s the kind of actor who makes you want to see what she’ll do next, because there’s never anything cookie-cutter about her work.