Elise Costa

Elise Costa’s filmography is honestly a wild mix, and it’s not like she’s stuck in any one box. You’ve got “The Balconettes” from 2024, which is sort of this offbeat, sharp-edged look at friendship and all the messiness that comes with living too close to your crew. The characters? Utterly flawed, sometimes hilariously so, but you can’t help rooting for them, even when they’re making absolute disasters out of their lives. There’s a real sense of chaos, like those nights that start with one glass of wine and end with someone confessing way too much on a balcony at 3 a.m. The city backdrop buzzes in the background, but honestly, it’s the raw, sometimes cringey, heart-on-your-sleeve conversations that stick. Then there’s “Morts à l’aveugle” from 2020, which is a whole different beast. This one goes dark—like, really dark. It’s a gritty thriller where nobody’s really a hero, and trust is basically a punchline. The pacing’s relentless, and the tension sits in your gut like a bad meal. Costa doesn’t sugarcoat the violence or the fear, and you’re not getting any easy answers. By the end, you feel like you’ve been dragged through every shadowy corridor right alongside the characters. “La Dernière,” also from 2024, feels like Costa flexing her storytelling muscles—pulling off intimate drama and emotional gut-punches without missing a beat. Relationships unravel, secrets spill, and you’re left thinking about your own messes long after the credits roll. Costa’s work isn’t always comforting, but damn, it sticks with you.