H.E.R. and Liza Soberano are no strangers to the spotlight. With acclaimed albums, world tours, 5 Grammys and an Academy Award, H.E.R. is just getting started. Meanwhile, Liza is a celebrated actress in the Philippines, known for her roles in hits like Alone/Together, My Ex and Whys, and Forevermore. But their new project, DreamWorks Animation’s Forgotten Island, marks an exciting new chapter in both of their careers. A wholly original concept from the directors of Puss in Boots: The Last Wish, H.E.R. and Liza voice Jo and Raissa, two lifelong best friends about to embark on separate paths when they’re transported to Nakali, a mythical island inhabited by creatures inspired by Filipino folklore. Rendered in breathtaking animation, Forgotten Island is a celebration of Filipino culture that explores universal ideas about change, memory, and the power of friendship.

In this episode, H.E.R. and Liza join Jacqueline Coley to discuss bringing Jo and Raissa to life, finding unexpected pieces of themselves in the characters, and recording with real life best friends, directors Joel Crawford and Januel Mercado. H.E.R. tells the story behind the original song she wrote for the film, Liza reveals the moment that brought her to tears when they recorded the song together, and they both reflect on and what it means to them to be spotlighting their culture for a global audience—with the help of their “Filipino Avengers” castmates Lea Salonga, Dolly de Leon, and Manny Jacinto.

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Nobody can predict where a Zach Cregger movie is going to take them… not even Zach Cregger. Since starting his career in sketch comedy, Cregger has gone on to become one of the most talked-about filmmakers in horror – earning acclaim for the perspective-shifting, expectation-subverting storytelling showcased in Barbarian and Weapons, the latter of which earned Amy Madigan an Academy Award for Best Supporting Actress. Now, he’s bringing his signature vision to Resident Evil, the legendary survival horror franchise. Starring Austin Abrams, the film is what Cregger calls “a love letter” to the games, aiming to recreate the exhilarating dread of pressing deeper into the unknown with dwindling resources, no way back, and no idea what might be waiting in the shadows ahead.

In this episode, Zach talks with Jacqueline Coley about pitching Resident Evil while he was still making Barbarian, and how he approached translating the games to the screen through meticulously choreographed stunt work, practical effects, and how his vision was shaped by the thousands of hours he’s spent playing the games. He lets us into his creative process, dissecting how Barbarian started as a simple writing exercise inspired by a self-help book and how an abandoned screenplay eventually gave birth to Weapons’ Aunt Gladys. Zach and Jacqueline also discuss their favorite Austin Abrams performances, Sam Raimi’s Evil Dead II and its influence on Zach’s work, and why his years writing comedy taught him to always be on the lookout for the weirdest possible idea.

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Adria Arjona has made a point of choosing roles that resist typecasting. Since joining the Star Wars universe in Andor, she’s showcased her versatility across comedy, drama, and genre, from charming in offbeat romantic comedies like Hit Man and Splitsville to navigating serious subject matter with nuance and humor in Blink Twice and Los Frikis. But in her latest film, 80s-inspired horror-thriller Onslaught from A24 and director Adam Wingard (The Guest, Godzilla vs. Kong), she’s going darker and bloodier than she’s ever gone before. As Celeste, an ex-army sniper and struggling mom managing PTSD, she’s forced to go full “Sarah Connor” to defend her daughter when a group of supersoldiers escape from a government facility and descend on her trailer park.

In this episode, Adria joins Jacqueline Coley to discuss the grueling physical demands of Onslaught and her creative involvement throughout the process as executive producer, and the close bond she formed on set with Blake Kennedy, the young actress who plays her daughter in the film. She also shares stories from her past projects, from her nerve-wracking Andor audition for showrunner Tony Gilroy to developing her Hit Man character’s dialogue with Richard Linklater and Glen Powell, and reflects on the importance of having a seat at the table as she takes on new challenges in every performance.

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Few filmmakers have had a bigger impact on the past 20 years of rom-coms than Will Gluck. From reimagined literary classics like Easy A and Anyone But You to his wry take on situationships in Friends With Benefits, his films are beloved for their witty dialogue, unforgettable chemistry, and astute observations about love and dating. Now he's back at it with One Night Only, a raucously original rom-com about two people looking for love in New York City on the one night a year that premarital sex is legal.

In this episode, Will joins Jacqueline Coley to discuss the ingredients of a great romantic comedy, how he shapes his films around his actors’ chemistry, and why he considers John Hughes his “North Star” as a director. He reflects on giving Emma Stone her big break in Easy A, how obvious it was to the entire crew she was destined for greatness, and why he’s convinced audiences will feel the same way about Monica Barbaro and Callum Turner after seeing them in One Night Only. He also shares how growing up in New York City shaped One Night Only, the world-building production meetings and freezing night shoots that went into making it, and why the film's central contrivance was the perfect allegory for the disconnection of modern dating.

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Monica Barbaro and Callum Turner’s characters spend much of One Night Only running around New York City trading barbs and banter and pretending not to enjoy each other's company—but their chemistry is undeniable. Perhaps best known for their acclaimed dramatic performances (A Complete Unknown, Top Gun: Maverick, Masters of the Air, Fantastic Beasts), the pair go all-in on hilarity and hijinks in the sexy new rom-com from writer/director Will Gluck (Anyone But You, Easy A) as two people looking for love on the least romantic night of the year.

In this episode, Monica and Callum talk to Jacqueline Coley about One Night Only’s wild premise, finding their comedic rhythm, and the spontaneous improvisations that led to some of the film’s best moments. They share stories from shooting on location in New York City—including filming on a moving subway train—and debate who did more singing on set: Monica performing in character or Callum breaking into song between takes. They also reflect on their favorite rom-coms, the cinematic experiences that shaped them, and why there’s nothing quite like the magic of watching a movie in a packed theater amongst loved ones and strangers.

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Lupita Nyong'o and Himesh Patel have starred in Academy Award-winning dramas, sci-fis, romcoms, and horrors, but they’ve never been on a set quite like Christopher Nolan’s The Odyssey. Shot entirely on IMAX film across some of the world's most breathtaking locations, Nolan's ambitious adaptation of Homer’s 3,000-year-old epic challenged its cast to push themselves in entirely new ways—Lupita in the dual roles of Helen of Troy and her sister Clytemnestra, and Himesh opposite Matt Damon’s Odysseus as his second-in-command, Eurylochus.

In this episode, Lupita and Himesh talk to Jacqueline Coley about their experience filming in IMAX, the trust Nolan puts in them to become experts on their characters, and the unparalleled level of focus his no-phones policy creates. As they revisit their favorite Nolan films, Lupita reflects on the unique challenge of breathing life into a character known only for being beautiful, while Himesh describes how Damon’s tireless work ethic inspired everyone working alongside him. They also share stories about Nolan’s filmmaking process, the collaboration he encourages in his actors, and what they learned from their time on set with the visionary director.

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John Leguizamo has had one of the most varied and versatile careers in Hollywood, appearing in over 100 films across every genre imaginable. From Carlito's Way and To Wong Foo, Thanks for Everything! Julie Newmar to Ice Age and Encanto, he has a knack for scene-stealing performances that leave an enduring mark on moviegoers. Now, he’s taking on another unforgettable role in Christopher Nolan’s The Odyssey: Eumaeus, Odysseus’s faithful servant and trusted friend—or as Nolan pitched it to him, “the most loyal character in Western literature.”

In this episode, John talks to Jacqueline Coley about stepping onto a Christopher Nolan set for the first time, the unique challenges of shooting entirely on IMAX film, and the deep bond he formed with Matt Damon as they developed their characters’ friendship. A decorated playwright in his own right, he praises Nolan’s Odyssey screenplay and describes how writing and improvisation have shaped his approach to acting. He also looks back on some of his most beloved screen performances, from Chi-Chi Rodriguez in To Wong Foo to Sid the Sloth in the Ice Age films, and his lifelong commitment to representation and portraying oddballs, outsiders, and underdogs with care, respect, and empathy.

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Director Michael Sarnoski has developed a distinct approach to storytelling that emphasizes restraint and character over scale. From Pig to A Quiet Place: Day One, his films focus on reserved moments and internal conflict rather than traditional spectacle. With his latest film, The Death of Robin Hood, he revisits a familiar story through a more grounded lens—portraying Robin Hood as an aging man reflecting on a life shaped by violence.

In this episode, Sarnoski joins Jacqueline Coley to discuss his interest in Robin Hood’s lesser-known final chapter, and how medieval history and early ballads informed his interpretation. He also talks about the path from his first feature, Pig, to A Quiet Place: Day One, and what he’s learned working with actors including Nicolas Cage, Lupita Nyong’o, Jodie Comer, and Hugh Jackman.

He also shares updates on his upcoming game to film adaptation of Hideo Kojima’s Death Stranding, discusses how an early short film contributed to his move into directing, and reflects on the impact of Sam Raimi’s Spider-Man on his perspective as a filmmaker.

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Colman Domingo has spent decades turning out award-winning work as an actor, playwright, and director, but 2026 feels different. Between Michael, Euphoria, The Four Seasons, and an unforgettable debut hosting SNL, the two-time Oscar nominee has been busy delivering scene-stealing performances in some of the year’s most talked about projects. Now he’s continuing that streak with Disclosure Day, Steven Spielberg’s highly anticipated return to sci-fi: a sweeping alien thriller that Colman describes as one of the most hopeful films of the modern era.

In this episode, Colman joins Jacqueline Coley to discuss how Disclosure Day balances blockbuster set pieces with an underlying humanism that examines our relationship to the unknown. He describes working with Spielberg, the youthful joy and playfulness the legendary filmmaker still brings to set, and why the script’s unwavering faith in humanity moved him to tears the first time he read it. Colman also reveals his approach to fashion on his press tours, praises co-star Emily Blunt’s “performance for the ages” in Disclosure Day, and shares his gratitude for collaborative relationships—like his and Spielberg’s—that come to feel like family.

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Curry Barker didn’t wait for a greenlight to start making movies. The 26-year-old filmmaker built a following on social media alongside his comedy partner Cooper Tomlinson, while also gaining traction for DIY horror shorts and YouTube released no-budget feature, Milk & Serial. Now working with Focus Features and Blumhouse, Curry has made his first studio feature with horror movie, Obsession.

In this episode, Curry joins Jacqueline Coley to unpack the origins of Obsession and discuss his approach to grounding a supernatural story in the complexities of real relationships. Curry shares early inspirations and his admiration for filmmakers like Jordan Peele and Leigh Whannell - and examines why he believes so many comedians successfully transition into horror.

From making independent movies with friends to becoming one of horror’s most buzzed-about new voices, Curry reflects on how his indie and comedy roots continue to shape his filmmaking—and looks ahead to what’s next, including upcoming features, Anything But Ghosts and A24’s Texas Chainsaw Massacre, cementing a delightfully demented cinematic voice we can continue to be obsessed with.

To watch the movies discussed in this episode and more, head to https://athome.fandango.com/?cmp=SOTS~Fandango~general