Nan Moore

Nan Moore’s filmography isn’t exactly what you’d call subtle. She’s got that knack for snagging your attention, whether you catch her on a grimy street in The Responder or tucked into one of those offbeat Welsh short films. The Responder (2022) is the big one lately—Martin Freeman’s out here barely holding it together as a first response cop in Liverpool, and Nan’s presence just rounds out the chaos. It’s not your paint-by-numbers police drama, either. We're talking night shifts that bleed into each other, people fraying at the edges, and a city that feels like it could swallow you whole if you blink. Nan fits into this world like she’s lived there all her life—raw nerves, sharp edges, and all. But hey, roll it back a bit and you’ll spot her in Seats (2020), which takes a totally different swing. It’s all about human connection, or maybe the hilarious lack thereof, as a bunch of strangers end up sharing space and stories they never meant to. It’s got that dry, awkward British humor that creeps up on you, and Nan slides right in, making her character instantly recognizable—the type of person you might bump into on a rainy Tuesday and just know they’ve got a backstory. And then there’s her earlier work with It’s My Shout: Short Films from Wales (2012). It’s scrappy, it’s independent, and it’s packed with young talent trying to make something that actually says something about where they’re from. Nan’s roles here aren’t flashy, but they stick. She’s got this way of making even minor characters feel like they matter, like they’ve been living their own stories just off-camera. Not everyone can do that.