Sarah Deline

Sarah Deline, man, she’s carved out her own weird little corner in the film world. You’ve probably seen her in those indie flicks that make you a bit uncomfortable but you can’t look away. Take House at the End of the Street from 2012—she’s got this way of making her characters feel just a little bit off, like you shouldn’t trust the smile, y’know? She leans right into the tension, playing up the mystery and that slow-burn creepiness that makes your skin crawl. Then there’s Clown from 2014, which, honestly, is not for the faint of heart. She pops up and suddenly the whole mood shifts—something about her performance just adds a layer of “nope” to the horror, like she’s in on the joke but also totally serious. It’s freaky. February (2015), also known as The Blackcoat’s Daughter, is another one where she brings that same energy, kind of cold and unsettling, but you can’t help but watch. She picks these dark, atmospheric projects and just disappears into them. She’s not splashed all over tabloids or anything, but if you’re into horror or psychological thrillers, you’ve probably caught her work and didn’t even realize it. There’s this understated intensity she’s got—never over the top, but she’ll stick in your head after the credits roll. She makes you wonder what’s really going on behind those eyes, and honestly, that’s half the fun. Not your typical scream queen—she’s got way more bite.