Maggie Foggett

Maggie Foggett’s got her fingerprints all over some seriously wild rides in cinema lately. You might recognize her work from Infinite (2021), where things just spiral into this trippy sci-fi headspace—reincarnation, memory, a bit of mind-bending action. It’s the kind of film that grabs you by the collar and keeps you guessing who’s actually who. Not exactly your run-of-the-mill popcorn flick. Jump back a bit to The Aeronauts (2019). Now, this one’s a whole different vibe. Suddenly, you’re up in the clouds, literally, with balloon flights and Victorian-era adventure. The visuals? Absolutely bonkers. There’s weather science, risk, and heart-in-your-throat moments—like, are they going to make it, or is this balloon about to drop out of the sky? It’s got that old-school explorer spirit, the kind that makes you want to dig out a map and start planning your own wild journey—minus the frostbite, thanks. And then there’s The Good Liar (2019), which is just dripping with that classic con-artist tension. Layers on layers of scheming, everyone’s got secrets, and you’re kind of just waiting for the next shoe to drop. The performances are sharp as hell—nobody’s really who they say they are, and the whole thing keeps twisting just when you think you've got it figured out. So, if you’re into movies that don’t just spoon-feed you the obvious and actually make you pay attention, Maggie Foggett’s projects are a solid bet. There’s action, there’s intrigue, and a little bit of that “wait, what just happened?” energy packed in.