Jenny Beckett

Jenny Beckett’s filmography is honestly a wild little ride through some of the more interesting corners of recent cinema. You’ve probably caught her in Better Man (2024), that flick where, let’s be real, the line between “hero” and “hot mess” is blurrier than your vision after three too many drinks. Beckett’s character? She brings this raw, almost reckless energy that makes you root for her, even when she’s screwing up big time. It’s not your typical redemption arc—think more messy, relatable, and just a tad chaotic. But if you rewind a bit, The Man Who Walked Around the World (2020) is a whole different vibe. This one’s more moody, kinda atmospheric, and Jenny’s role is less about the spotlight and more about those undercurrents—she’s got this way of stealing scenes with a glance or a half-smirk. The film itself is basically a meditation on obsession and legacy, and Beckett’s performance? Subtle, but it sticks with you. And then there’s Tw-ache (2014). Man, that movie’s just weird in the best way possible. It’s got that indie, lo-fi energy, full of awkward silences and moments that make you cringe—but like, in a good way? Beckett leans all the way in, giving the film a pulse when it could’ve fallen flat. She’s not afraid to get a little ugly, a little raw. Bottom line, Beckett’s not just background noise in any of these projects. She shows up, shakes things up, and leaves you thinking, “Wait, who was that?”