Ingrid Giæver

Ingrid Giæver’s career is basically a highlight reel for indie cinema fans who love a good twist on the usual. She popped up in Thelma (2017)—that trippy Norwegian thriller where nothing is really as it seems. If you’ve seen it, you know the deal: icy Oslo backdrops, supernatural vibes, and Ingrid just owning her screen time, even if she’s not front and center. It’s the kind of film where every character feels like they’re hiding something, and Giæver just leans into all that tension. Fast-forward to Nach (2021), and she’s in a totally different groove. More raw, more stripped down. The film sticks in your head, partly because of how the cast, including Ingrid, brings this sort of unfiltered energy—like you’re watching real life unravel, not a scripted scene. There’s this messy, honest vibe about relationships and figuring out who the hell you are, and Giæver just nails that uncertain 20-something energy. Then we’ve got Dreams (Sex Love) (2024), where she really loosens up. The film’s all about desire, connection, all that messy human stuff nobody likes to talk about but everyone deals with. Ingrid brings this sharpness to her role—she’s funny, bold, sometimes awkward, always real. There’s a sense that she’s not afraid to get a little weird or vulnerable, and it pays off. Each film shows a different side of her, but there’s this thread of honesty and unpredictability running through everything she does. If you want performances that actually make you feel something, she’s one to watch.