Marguerite Dabrin

Marguerite Dabrin, yeah, she’s not just another name floating around in indie film credits—she’s got range, heart, and a knack for landing in the kind of movies that make you actually want to pay attention. Take Emmanuelle (2024), for example. That’s not your typical soft-focus, daydreamy romance. Nope. It’s bolder, way more raw, and Dabrin brings this sharp edge to her role. You can tell she’s not just phoning it in, which is honestly refreshing these days. She’s got this energy that makes you wonder what’s going on behind those eyes—like, there’s way more to the character than you’re seeing on the surface. Flip back a decade, and you’ll find her in The Dreamlife of David L (2014). That one’s a trip—surreal, kind of haunting, all about chasing the weird, slippery line between dreams and reality. Dabrin fits right in, almost like she’s lived a hundred lives already. She’s not the loudest in the room, but she’s the one you remember after the credits roll. And then there’s Nos voyages invisibles (2024), which—honestly—feels like it was made for her. The whole film is about journeys you can’t see: personal struggles, hidden hopes, the stuff people carry around inside. Dabrin brings this warmth, this vulnerability, that makes every scene feel personal. She’s not afraid to get messy, to show the cracks, and that’s what makes her stand out. Honestly, if you haven’t watched her work yet, you’re missing out.